1.
Percussion instrument
–
A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater, struck, scraped or rubbed by hand, or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, the percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, percussive techniques can also be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, Percussion instruments may play not only rhythm, but also melody and harmony. Percussion is commonly referred to as the backbone or the heartbeat of an ensemble, often working in close collaboration with bass instruments. In jazz and other popular ensembles, the pianist, bassist, drummer. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, however, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed, in the 18th and 19th centuries, other percussion instruments have been used, again generally sparingly. The use of percussion instruments became more frequent in the 20th century classical music, in almost every style of music, percussion plays a pivotal role. In classic jazz, one almost immediately thinks of the rhythm of the hi-hats or the ride cymbal when the word swing is spoken. Because of the diversity of instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles, music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a pitch can be notated with a specialist rhythm or percussion-clef. The word percussion has evolved from Latin terms, percussio, as a noun in contemporary English it is described in Wiktionary as the collision of two bodies to produce a sound. Hornbostel–Sachs has no high-level section for percussion, Most percussion instruments are classified as idiophones and membranophones.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks. 111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a mallet, such as the hang, gongs and the xylophone. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, (Included in most drum sets or 412. Stringed instruments played with such as the hammered dulcimer
Percussion instrument
–
Yoruba drummers: One holds
omele ako and
batá, the other two hold
dunduns.
Percussion instrument
–
Orchestral percussion section with
timpani,
unpitched auxiliary percussion and pitched
tubular bells
Percussion instrument
–
Djembé and
balafon played by
Susu people of
Guinea
Percussion instrument
–
Concussion idiophones (
claves), and struck drums (
conga drum)
2.
Hand percussion
–
Hand percussion is a term used to indicate a percussion instrument of any type from any culture that is held in the hand. They can be made from wood, metal or plastic and are usually either shaken and it is a useful category in terms of a large percussion orchestra in that it identifies all instruments that are not drums or pitched percussion such as marimba and xylophone. A shaker is any instrument that makes a noise when shaken, historically they were naturally occurring items such as seed pods. A caxixi is a basketwork shaker with a gourd base. Gourds are used all over the world and covered with a net with shells or seeds to create an instrument such as the shekere and this can be a wood, metal or plastic instrument which has ridges on its body. Often known as Guiro, rhythms are created by running a stick up. Gourds or bamboo have traditionally used as they have a resonant hollow body. A common type from Asia is a carved wooden frog which has ridges cut on its back and its mouth, cowbells originate from the bells tied around the necks of livestock. They are any type of hand held bell tapped with fingers and they occur all over the world and are used extensively in Latin Percussion music and often found as part of a standard Rock Drum Kit. The name cowbell usually refers to a single bell, the Agogô bell usually refers to a double or triple bell. The triangle is a piece of steel bent in the shape of a triangle tapped with another piece of steel and it is suspended on one hand which can be open and closed to alter the sound. Very commonly used in South American Music to give a persistent high pitched pulse, tapping two sticks together is the simplest form of hand percussion, and has developed a place in traditional music all over the world. Indigenous Australians use clapping sticks alongside the didgeridoo, and claves are a part of South American Music. There are a variety of hand held drums such as tamborim which fall into the Hand Percussion category
Hand percussion
–
Modern half moon
tambourine
Hand percussion
–
Caxixi from
Africa
Hand percussion
–
Gourd
shekere from
Africa with seeds in the net.
Hand percussion
–
Modern fibreglass güiro from
South America
3.
Membranophone
–
A membranophone is any musical instrument which produces sound primarily by way of a vibrating stretched membrane. It is one of the four divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification. In addition to drums, there is kind of membranophone, called the singing membranophone. These instruments modify a sound produced by something else, commonly the human voice, frame drums consist of a membrane stretched across a frame. Friction drums produce sound by rubbing a stick through a hole in a membrane stretched across a frame, mirlitons, Kazoos and Swazzles vibrate in sympathy with sounds travelling across a membrane. These are the only membranophones that are not truly drums, SIL International maintains a classification system based largely on shape, Cylindrical drums are straight-sided, and generally two-headed. A buzzing, percussive string is sometimes used, examples include the bass drum and the Iranian dohol. Conical drums are sloped on the sides, and are usually one-headed, examples include the Indian tabla and the Venezuelan chimbangueles. Barrel drums are normally one-headed, and may be open at the bottom, examples include the Dhak from eastern parts of India, bendre, made by the Mossi of Burkina Faso out of a large calabash, and the trong chau of Vietnam. Hourglass drums are hourglass-shaped and generally two-headed, the drumheads are laced onto the body, and the laces may be squeezed during performance to alter the drums pitch. Examples include folk drums in India and much of Africa, as well as talking drums. Goblet drums are one-headed and goblet shaped, and are open at the bottom. Examples include the Arab darabukka, and a range of instruments from Armenia, Azerbaijan, Africa, Southeastern Europe. Footed drums are single-headed and are held above the ground by feet, the space between the drum and the ground provides extra resonance. Examples include a range of East African and Polynesian drums, long drums are a diverse category, characterized by extreme length. Examples include the single-headed hollow tree trunk drums of Africa and the carved and dyed gufalo of the Nuna in Burkina Faso. Kettle drums are played in pairs, and have a vessel or pot body, are one-headed. Examples include the timpani and tabla, frame drums are composed of one or more membranes stretched across a frame
Membranophone
–
Mirlitons, as the kazoo in the picture, are a special class of membranophone, and is the only class that does not consist of true drums
Membranophone
–
A timpani is a kind of kettle drum
Membranophone
–
A cuica is a kind of friction drum
4.
Arabic language
–
Arabic is a Central Semitic language that was first spoken in Iron Age northwestern Arabia and is now the lingua franca of the Arab world. Arabic is also the language of 1.7 billion Muslims. It is one of six languages of the United Nations. The modern written language is derived from the language of the Quran and it is widely taught in schools and universities, and is used to varying degrees in workplaces, government, and the media. The two formal varieties are grouped together as Literary Arabic, which is the language of 26 states. Modern Standard Arabic largely follows the standards of Quranic Arabic. Much of the new vocabulary is used to denote concepts that have arisen in the post-Quranic era, Arabic has influenced many languages around the globe throughout its history. During the Middle Ages, Literary Arabic was a vehicle of culture in Europe, especially in science, mathematics. As a result, many European languages have borrowed many words from it. Many words of Arabic origin are found in ancient languages like Latin. Balkan languages, including Greek, have acquired a significant number of Arabic words through contact with Ottoman Turkish. Arabic has also borrowed words from languages including Greek and Persian in medieval times. Arabic is a Central Semitic language, closely related to the Northwest Semitic languages, the Ancient South Arabian languages, the Semitic languages changed a great deal between Proto-Semitic and the establishment of the Central Semitic languages, particularly in grammar. Innovations of the Central Semitic languages—all maintained in Arabic—include, The conversion of the suffix-conjugated stative formation into a past tense, the conversion of the prefix-conjugated preterite-tense formation into a present tense. The elimination of other prefix-conjugated mood/aspect forms in favor of new moods formed by endings attached to the prefix-conjugation forms, the development of an internal passive. These features are evidence of descent from a hypothetical ancestor. In the southwest, various Central Semitic languages both belonging to and outside of the Ancient South Arabian family were spoken and it is also believed that the ancestors of the Modern South Arabian languages were also spoken in southern Arabia at this time. To the north, in the oases of northern Hijaz, Dadanitic and Taymanitic held some prestige as inscriptional languages, in Najd and parts of western Arabia, a language known to scholars as Thamudic C is attested
Arabic language
–
The Galland Manuscript of
One Thousand and One Nights, 14th century
Arabic language
–
al-ʿArabiyyah in written Arabic (
Naskh script)
Arabic language
–
Bilingual traffic sign in
Qatar.
Arabic language
–
Examples of how the Arabic root and form system works.
5.
Goblet
–
A chalice is a goblet or footed cup intended to hold a drink. In general religious terms, it is intended for drinking during a ceremony, chalices are often made of precious metal, and they are sometimes richly enamelled and jewelled. The gold goblet was symbolic for family and tradition, the ancient Roman calix was a drinking vessel consisting of a bowl fixed atop a stand, and was in common use at banquets. Chalices have been used since the early church, because of Jesus command to his disciples to Do this in remembrance of me. And Pauls account of the Eucharistic rite in 1 Corinthians 11, 24-25, naturally, the vessels used in this important act of worship were highly decorated and treated with great respect. A number of examples of chalices have a large bowl. Over time, the size of the bowl diminished and the base became larger for better stability, over time, official church regulations dictated the construction, blessing, and treatment of chalices. Some religious traditions still require that the chalice, at least on the inside of the cup, in Western Christianity, chalices will often have a pommel or node where the stem meets the cup to make the elevation easier. In Roman Catholicism, chalices tend to be tulip-shaped, and the cups are quite narrow, Roman Catholic priests will often receive chalices from members of their families when first ordained. In Eastern Christianity, chalices will often have icons enameled or engraved on them, in Orthodoxy and Eastern Catholicism, all communicants receive both the Body of Christ and the Blood of Christ. To accomplish this, a portion of the Lamb is placed in the chalice, for this reason, eastern chalices tend to have larger, rounded cups. In the Russian Orthodox Church, the faithful will kiss the foot of the chalice after receiving Holy Communion. In other traditions, they kiss the cup. Although Orthodox monks are not permitted to hold personal possessions, the permit a hieromonk to keep a chalice. In the early and medieval church, when a deacon was ordained, early written accounts of the ordination of deaconesses also reflect this practice. In the West the deacon carries the chalice to the altar at the offertory, in the East, the priest carries the chalice and the deacon carries the paten. Only wine, water and a portion of the Host are permitted to be placed in the chalice, the chalice is considered to be one of the most sacred vessels in Christian liturgical worship, and it is often blessed before use. Among the Eastern Churches there are varying practices regarding blessing, in some traditions the very act of celebrating the Sacred Mysteries is the only blessing necessary, in others, there is a special rite of blessing
Goblet
–
Derrynaflan Chalice, an 8th- or 9th-century chalice, found in
County Tipperary,
Ireland
Goblet
–
Fresco of a female figure holding a chalice at an early Christian
Agape feast.
Catacomb of Saints
Marcellinus and Peter,
Via Labicana, Rome.
Goblet
–
Chalice with Saints and Scenes from the Life of Christ
Goblet
–
Chalice with the inscription: 'My blood truly is a libation' (John 6:55, KJV), made for the church St John the Baptist in Salinas, Spain.
6.
Middle East
–
The Middle East is a transcontinental region centered on Western Asia and Egypt. The corresponding adjective is Middle-Eastern and the noun is Middle-Easterner. The term has come into usage as a replacement of the term Near East beginning in the early 20th century. Arabs, Turks, Persians, Kurds, and Azeris constitute the largest ethnic groups in the region by population. Indigenous minorities of the Middle East include Jews, Assyrians and other Arameans, Baloch, Berbers, Copts, Druze, Lurs, Mandaeans, Samaritans, Shabaks, Tats, in the Middle East, there is also a Romani community. European ethnic groups form a diaspora in the region include Albanians, Bosniaks, Circassians, Crimean Tatars, Franco-Levantines. Among other migrant populations are Bengalis as well as other Indians, Chinese, Filipinos, Indonesians, Pakistanis, the history of the Middle East dates back to ancient times, with the importance of the region being recognized for millennia. Most of the countries border the Persian Gulf have vast reserves of crude oil. The term Middle East may have originated in the 1850s in the British India Office, however, it became more widely known when American naval strategist Alfred Thayer Mahan used the term in 1902 to designate the area between Arabia and India. During this time the British and Russian Empires were vying for influence in Central Asia, Mahan realized not only the strategic importance of the region, but also of its center, the Persian Gulf. Mahan first used the term in his article The Persian Gulf and International Relations, published in September 1902 in the National Review, a British journal. The Middle East, if I may adopt a term which I have not seen, will some day need its Malta, as well as its Gibraltar, it does not follow that either will be in the Persian Gulf. The British Navy should have the facility to concentrate in force if occasion arise, about Aden, India, mahans article was reprinted in The Times and followed in October by a 20-article series entitled The Middle Eastern Question, written by Sir Ignatius Valentine Chirol. During this series, Sir Ignatius expanded the definition of Middle East to include regions of Asia which extend to the borders of India or command the approaches to India. After the series ended in 1903, The Times removed quotation marks from subsequent uses of the term, in the late 1930s, the British established the Middle East Command, which was based in Cairo, for its military forces in the region. After that time, the term Middle East gained broader usage in Europe, the description Middle has also led to some confusion over changing definitions. Before the First World War, Near East was used in English to refer to the Balkans and the Ottoman Empire, while Middle East referred to Iran, the Caucasus, Afghanistan, Central Asia, and Turkestan. The first official use of the term Middle East by the United States government was in the 1957 Eisenhower Doctrine, the Associated Press Stylebook says that Near East formerly referred to the farther west countries while Middle East referred to the eastern ones, but that now they are synonymous
Middle East
–
The
Temple Mount in
Jerusalem
Middle East
–
Map of the Middle East (green).
Middle East
–
The
Kaaba, located in
Mecca,
Saudi Arabia
Middle East
–
Islam is the largest religion in the Middle East. Here, Muslim men are
prostrating during prayer in a mosque.
7.
North Africa
–
North Africa or Northern Africa is the northernmost region of Africa. The United Nationss definition of Northern Africa is, Algeria, Egypt, Libya, Morocco, Sudan, Tunisia, the countries of Algeria, Morocco, Tunisia, and Libya are often collectively referred to as the Maghreb, which is the Arabic word for sunset. Egypt lies to the northeast and encompasses part of West Asia, while Sudan is situated on the edge of the Sahel, Egypt is a transcontinental country because of the Sinai Peninsula, which geographically lies in Western Asia. North Africa also includes a number of Spanish possessions, the Canary Islands and Madeira in the North Atlantic Ocean northwest of the African mainland are included in considerations of the region. From 3500 BC, following the abrupt desertification of the Sahara due to changes in the Earths orbit. The Islamic influence in the area is significant, and North Africa is a major part of the Muslim world. Some researchers have postulated that North Africa rather than East Africa served as the point for the modern humans who first trekked out of the continent in the Out of Africa migration. The Atlas Mountains extend across much of Morocco, northern Algeria and Tunisia, are part of the mountain system that also runs through much of Southern Europe. They recede to the south and east, becoming a steppe landscape before meeting the Sahara desert, the sediments of the Sahara overlie an ancient plateau of crystalline rock, some of which is more than four billion years old. Sheltered valleys in the Atlas Mountains, the Nile Valley and Delta, a wide variety of valuable crops including cereals, rice and cotton, and woods such as cedar and cork, are grown. Typical Mediterranean crops, such as olives, figs, dates and citrus fruits, the Nile Valley is particularly fertile, and most of the population in Egypt and Sudan live close to the river. Elsewhere, irrigation is essential to improve yields on the desert margins. The inhabitants of Saharan Africa are generally divided in a manner corresponding to the principal geographic regions of North Africa, the Maghreb, the Nile valley. The edge of the Sahel, to the south of Egypt has mainly been inhabited by Nubians, Ancient Egyptians record extensive contact in their Western desert with people that appear to have been Berber or proto-Berber, as well as Nubians from the south. They have contributed to the Arabized Berber populations, the official language or one of the official languages in all of the countries in North Africa is Arabic. The people of the Maghreb and the Sahara regions speak Berber languages and several varieties of Arabic, the Arabic and Berber languages are distantly related, both being members of the Afroasiatic language family. The Tuareg Berber languages are more conservative than those of the coastal cities. Over the years, Berbers have been influenced by contact with cultures, Greeks, Phoenicians, Egyptians, Romans, Vandals, Arabs, Europeans
North Africa
–
Market of
Biskra in Algeria, 1899
North Africa
–
Northern Africa (UN subregion)
North Africa
–
The
kasbah of
Aït Benhaddou in Morocco
North Africa
–
The first
Roman emperor native to North Africa was
Septimius Severus, born in Leptis Magna in present-day Libya.
8.
South Asia
–
Topographically, it is dominated by the Indian Plate, which rises above sea level as Nepal and northern parts of India situated south of the Himalayas and the Hindu Kush. South Asia is bounded on the south by the Indian Ocean and on land by West Asia, Central Asia, East Asia, the current territories of Afghanistan, Bangladesh, Bhutan, Maldives, Nepal, India, Pakistan, and Sri Lanka form the countries of South Asia. The South Asian Association for Regional Cooperation is an economic cooperation organisation in the region which was established in 1985, South Asia covers about 5.1 million km², which is 11. 51% of the Asian continent or 3. 4% of the worlds land surface area. The population of South Asia is about 1.749 billion or about one fourth of the worlds population, overall, it accounts for about 39. 49% of Asias population and is home to a vast array of peoples. The area of South Asia and its extent is not clear cut as systemic. Aside from the region of South Asia, formerly part of the British Empire, there is a high degree of variation as to which other countries are included in South Asia. Modern definitions of South Asia are consistent in including Afghanistan, India, Pakistan, Bangladesh, Sri Lanka, Nepal, Bhutan, Myanmar is included by some scholars in South Asia, but in Southeast Asia by others. Some do not include Afghanistan, others question whether Afghanistan should be considered a part of South Asia or the Middle East, the mountain countries of Nepal and Bhutan, and the island countries of Sri Lanka and Maldives are generally included as well. Myanmar is often added, and by various deviating definitions based on often substantially different reasons, the British Indian Ocean Territory, the common concept of South Asia is largely inherited from the administrative boundaries of the British Raj, with several exceptions. The Aden Colony, British Somaliland and Singapore, though administered at various times under the Raj, have not been proposed as any part of South Asia. Additionally Burma was administered as part of the Raj until 1937, the 562 princely states that were protected by but not directly ruled by the Raj became administrative parts of South Asia upon joining Union of India or Dominion of Pakistan. China and Myanmar have also applied for the status of members of SAARC. This bloc of countries include two independent countries that were not part of the British Raj – Nepal, and Bhutan, Afghanistan was a British protectorate from 1878 until 1919, after the Afghans lost to the British in the Second Anglo-Afghan war. The United Nations Statistics Divisions scheme of sub-regions include all eight members of the SAARC as part of Southern Asia, population Information Network includes Afghanistan, Bangladesh, Burma, India, Nepal, Pakistan and Sri Lanka as part of South Asia. Maldives, in view of its characteristics, was admitted as a member Pacific POPIN subregional network only in principle, the Hirschman–Herfindahl index of the United Nations Economic and Social Commission for Asia and the Pacific for the region includes only the original seven signatories of SAARC. The British Indian Ocean Territory is connected to the region by a publication of Janes for security considerations, the inclusion of Myanmar in South Asia is without consensus, with many considering it a part of southeast Asia and others including it within South Asia. Afghanistan was of importance to the British colonial empire, especially after the Second Anglo-Afghan War over 1878–1880, Afghanistan remained a British protectorate until 1919, when a treaty with Vladimir Lenin included the granting of independence to Afghanistan. Following Indias partition, Afghanistan has generally included in South Asia
South Asia
–
While South Asia had never been a coherent
geopolitical region, it has a distinct geographical identity
South Asia
–
South Asia
South Asia
–
Ethno-linguistic families of South Asia.
9.
Eastern Europe
–
Eastern Europe, also known as East Europe, is the eastern part of the European continent. There is no consensus on the area it covers, partly because the term has a wide range of geopolitical, geographical, cultural. There are almost as many definitions of Eastern Europe as there are scholars of the region, a related United Nations paper adds that every assessment of spatial identities is essentially a social and cultural construct. One definition describes Eastern Europe as an entity, the region lying in Europe with main characteristics consisting in Byzantine, Orthodox. Another definition was created during the Cold War and used more or less synonymously with the term Eastern Bloc, a similar definition names the formerly communist European states outside the Soviet Union as Eastern Europe. Historians and social scientists generally view such definitions as outdated or relegating, several definitions of Eastern Europe exist today, but they often lack precision or are extremely general. These definitions vary both across cultures and among experts, even scientists, recently becoming more and more imprecise. The Ural Mountains, Ural River, and the Caucasus Mountains are the land border of the eastern edge of Europe. Eurovoc, a multilingual thesaurus maintained by the Publications Office of the European Union, provides entries for 23 EU languages, of these, those in italics are classified as Eastern Europe in this source. Other official web-pages of the European Union classify some of the countries as strictly Central European. The East–West Schism is the break of communion and theology between what are now the Eastern and Western churches which began in the 11th century and lasts until this very day and it divided Christianity in Europe, and consequently the world, into Western Christianity and Eastern Christianity. Since the Great Schism of 1054, Europe has been divided between Roman Catholic and Protestant churches in the West, and the Eastern Orthodox Christian churches in the east, due to this religious cleavage, Eastern Orthodox countries are often associated with Eastern Europe. A cleavage of this sort is, however, often problematic, for example, Greece is overwhelmingly Orthodox, the fall of the Iron Curtain brought the end of the East–West division in Europe, but this geopolitical concept is sometimes still used for quick reference by the media. The Baltic states have seats in the Nordic Council as observer states and they also are members of the Nordic-Baltic Eight whereas Eastern European countries formed their own alliance called the Visegrád Group. Estonia Latvia Lithuania The Caucasus nations may be included in the definitions of Eastern Europe, the extent of their geographic or political affiliation with Europe varies by country and source. All three states are members of the European Unions Eastern Partnership program and the Euronest Parliamentary Assembly, on 12 January 2002, the European Parliament noted that Armenia and Georgia may enter the EU in the future. Georgia — in modern geography, Georgia has been classified as part of Eastern Europe. Under the European Union’s geographic criteria, Georgia is viewed as part of Eastern Europe and is the only Caucasus country to be actively seeking EU membership and it is a member of Council of Europe and Eurocontrol
Eastern Europe
–
Division between the Eastern and Western Churches
Eastern Europe
–
Geographic features of Eastern Europe
10.
Djembe
–
A djembe or jembe is a rope-tuned skin-covered goblet drum played with bare hands, originally from West Africa. According to the Bambara people in Mali, the name of the djembe comes from the saying Anke djé, anke bé which translates to everyone together in peace. In the Bambara language, djé is the verb for gather, the djembe has a body carved of hardwood and a drumhead made of untreated rawhide, most commonly made from goatskin. Excluding rings, djembes have a diameter of 30–38 cm. The majority have a diameter in the 13 to 14 inch range, the weight of a djembe ranges from 5 kg to 13 kg and depends on size and shell material. A medium-size djembe carved from one of the traditional woods weighs around 9 kg, the djembe can produce a wide variety of sounds, making it a most versatile drum. The drum is very loud, allowing it to be heard clearly as a solo instrument over a large percussion ensemble, the Malinké people say that a skilled drummer is one who can make the djembe talk, meaning that the player can tell an emotional story. Traditionally, the djembe is played only by men, as are the dunun that always accompany the djembe, conversely, other percussion instruments that are commonly played as part of an ensemble, such as the shekere, karignan, and kese kese, are usually played by women. Even today, it is rare to see women play djembe or dunun in West Africa, there is general agreement that the origin of the djembe is associated with the Mandinka caste of blacksmiths, known as Numu. The wide dispersion of the drum throughout West Africa may be due to Numu migrations during the first millennium AD. Despite the association of the djembe with the Numu, there are no restrictions on who may become a djembefola. This is in contrast to instruments whose use is reserved for members of the caste, such as the balafon, kora. Anyone who plays djembe is a djembefola—the term does not imply a level of skill. However, due to the lack of records in West African countries. It seems likely that the history of the djembe reaches back for at least several centuries, the goblet shape of the djembe suggests that it originally may have been created from a mortar. There are a number of different creation myths for the djembe, the djembe first came to the attention of audiences outside West Africa with the efforts of Fodéba Keïta, who, in 1952, founded Les Ballets Africains. Tourés policies alienated Guinea from the West and he followed the Eastern Bloc model of using the countrys culture and music for promotional means. He and Fodéba Keïta, who had become a friend of Touré, saw the ballets as a way to secularize traditional customs
Djembe
–
Lenke wood djembe from Mali
Djembe
–
Les Ballets Africains in
Bonn,
Germany, 1962
Djembe
–
Djembefola DVD cover
Djembe
–
The Visitor theatrical release poster
11.
Babylonia
–
Babylonia was an ancient Akkadian-speaking state and cultural area based in central-southern Mesopotamia. A small Amorite-ruled state emerged in 1894 BC, which contained at this time the city of Babylon. Babylon greatly expanded during the reign of Hammurabi in the first half of the 18th century BC, during the reign of Hammurabi and afterwards, Babylonia was called Māt Akkadī the country of Akkad in the Akkadian language. It was often involved in rivalry with its older fellow Akkadian-speaking state of Assyria in northern Mesopotamia and it retained the Sumerian language for religious use, but by the time Babylon was founded, this was no longer a spoken language, having been wholly subsumed by Akkadian. The earliest mention of the city of Babylon can be found in a tablet from the reign of Sargon of Akkad. During the 3rd millennium BC, a cultural symbiosis occurred between Sumerian and Akkadian-speakers, which included widespread bilingualism. The influence of Sumerian on Akkadian and vice versa is evident in all areas, from lexical borrowing on a scale, to syntactic, morphological. This has prompted scholars to refer to Sumerian and Akkadian in the millennium as a sprachbund. Traditionally, the religious center of all Mesopotamia was the city of Nippur. The empire eventually disintegrated due to decline, climate change and civil war. Sumer rose up again with the Third Dynasty of Ur in the late 22nd century BC and they also seem to have gained ascendancy over most of the territory of the Akkadian kings of Assyria in northern Mesopotamia for a time. The states of the south were unable to stem the Amorite advance, King Ilu-shuma of the Old Assyrian Empire in a known inscription describes his exploits to the south as follows, The freedom of the Akkadians and their children I established. I established their freedom from the border of the marshes and Ur and Nippur, Awal, past scholars originally extrapolated from this text that it means he defeated the invading Amorites to the south, but there is no explicit record of that. More recently, the text has been taken to mean that Asshur supplied the south with copper from Anatolia and these policies were continued by his successors Erishum I and Ikunum. During the first centuries of what is called the Amorite period and his reign was concerned with establishing statehood amongst a sea of other minor city states and kingdoms in the region. However Sumuabum appears never to have bothered to give himself the title of King of Babylon, suggesting that Babylon itself was only a minor town or city. He was followed by Sumu-la-El, Sabium, Apil-Sin, each of whom ruled in the same manner as Sumuabum. Sin-Muballit was the first of these Amorite rulers to be regarded officially as a king of Babylon, the Elamites occupied huge swathes of southern Mesopotamia, and the early Amorite rulers were largely held in vassalage to Elam
Babylonia
–
The extent of the Babylonian Empire at the start and end of Hammurabi's reign
Babylonia
–
Old Babylonian
Cylinder Seal,
hematite, The king makes an animal offering to
Shamash. This seal was probably made in a workshop at
Sippar.
Babylonia
–
Geography
12.
Sumer
–
Living along the valleys of the Tigris and Euphrates, Sumerian farmers were able to grow an abundance of grain and other crops, the surplus of which enabled them to settle in one place. Proto-writing in the dates back to c.3000 BC. The earliest texts come from the cities of Uruk and Jemdet Nasr and date back to 3300 BC, modern historians have suggested that Sumer was first permanently settled between c.5500 and 4000 BC by a West Asian people who spoke the Sumerian language, an agglutinative language isolate. These conjectured, prehistoric people are now called proto-Euphrateans or Ubaidians, some scholars contest the idea of a Proto-Euphratean language or one substrate language. Reliable historical records begin much later, there are none in Sumer of any kind that have dated before Enmebaragesi. Juris Zarins believes the Sumerians lived along the coast of Eastern Arabia, todays Persian Gulf region, Sumerian civilization took form in the Uruk period, continuing into the Jemdet Nasr and Early Dynastic periods. During the 3rd millennium BC, a cultural symbiosis developed between the Sumerians, who spoke a language isolate, and Akkadian-speakers, which included widespread bilingualism. The influence of Sumerian on Akkadian is evident in all areas, from lexical borrowing on a scale, to syntactic, morphological. This has prompted scholars to refer to Sumerian and Akkadian in the 3rd millennium BC as a Sprachbund, Sumer was conquered by the Semitic-speaking kings of the Akkadian Empire around 2270 BC, but Sumerian continued as a sacred language. Native Sumerian rule re-emerged for about a century in the Neo-Sumerian Empire or Third Dynasty of Ur approximately 2100-2000 BC, the term Sumerian is the common name given to the ancient non-Semitic-speaking inhabitants of Mesopotamia, Sumer, by the East Semitic-speaking Akkadians. The Sumerians referred to themselves as ùĝ saĝ gíg ga, phonetically /uŋ saŋ gi ga/, literally meaning the black-headed people, the Akkadian word Shumer may represent the geographical name in dialect, but the phonological development leading to the Akkadian term šumerû is uncertain. Hebrew Shinar, Egyptian Sngr, and Hittite Šanhar, all referring to southern Mesopotamia, in the late 4th millennium BC, Sumer was divided into many independent city-states, which were divided by canals and boundary stones. Each was centered on a dedicated to the particular patron god or goddess of the city. The Sumerian city-states rose to power during the prehistoric Ubaid and Uruk periods, classical Sumer ends with the rise of the Akkadian Empire in the 23rd century BC. Following the Gutian period, there is a brief Sumerian Renaissance in the 21st century BC, the Amorite dynasty of Isin persisted until c.1700 BC, when Mesopotamia was united under Babylonian rule. The Sumerians were eventually absorbed into the Akkadian population, 2500–2334 BC Akkadian Empire period, c. 2218–2047 BC Ur III period, c, 2047–1940 BC The Ubaid period is marked by a distinctive style of fine quality painted pottery which spread throughout Mesopotamia and the Persian Gulf. It appears that this culture was derived from the Samarran culture from northern Mesopotamia and it is not known whether or not these were the actual Sumerians who are identified with the later Uruk culture
Sumer
–
Map of Sumer
Sumer
–
The
Samarra bowl, at the
Pergamonmuseum, Berlin. The
swastika in the center of the design is a reconstruction.
Sumer
–
Fragment of
Eannatum 's
Stele of the Vultures
13.
Egypt
–
Egypt, officially the Arab Republic of Egypt, is a transcontinental country spanning the northeast corner of Africa and southwest corner of Asia by a land bridge formed by the Sinai Peninsula. Egypt is a Mediterranean country bordered by the Gaza Strip and Israel to the northeast, the Gulf of Aqaba to the east, the Red Sea to the east and south, Sudan to the south, and Libya to the west. Across the Gulf of Aqaba lies Jordan, and across from the Sinai Peninsula lies Saudi Arabia, although Jordan and it is the worlds only contiguous Afrasian nation. Egypt has among the longest histories of any country, emerging as one of the worlds first nation states in the tenth millennium BC. Considered a cradle of civilisation, Ancient Egypt experienced some of the earliest developments of writing, agriculture, urbanisation, organised religion and central government. One of the earliest centres of Christianity, Egypt was Islamised in the century and remains a predominantly Muslim country. With over 92 million inhabitants, Egypt is the most populous country in North Africa and the Arab world, the third-most populous in Africa, and the fifteenth-most populous in the world. The great majority of its people live near the banks of the Nile River, an area of about 40,000 square kilometres, the large regions of the Sahara desert, which constitute most of Egypts territory, are sparsely inhabited. About half of Egypts residents live in areas, with most spread across the densely populated centres of greater Cairo, Alexandria. Modern Egypt is considered to be a regional and middle power, with significant cultural, political, and military influence in North Africa, the Middle East and the Muslim world. Egypts economy is one of the largest and most diversified in the Middle East, Egypt is a member of the United Nations, Non-Aligned Movement, Arab League, African Union, and Organisation of Islamic Cooperation. Miṣr is the Classical Quranic Arabic and modern name of Egypt. The name is of Semitic origin, directly cognate with other Semitic words for Egypt such as the Hebrew מִצְרַיִם, the oldest attestation of this name for Egypt is the Akkadian
Egypt
–
The
Giza Necropolis is the oldest of the
ancient Wonders and the only one still in existence.
Egypt
–
Flag
Egypt
–
The Greek Ptolemaic queen
Cleopatra VII and her son by Julius Caesar,
Caesarion at the
Temple of Dendera.
Egypt
–
The 1803
Cedid Atlas, showing
Ottoman Egypt.
14.
West Africa
–
West Africa, also called Western Africa and the West of Africa, is the westernmost subregion of Africa. Early human settlers from northern Holocene societies arrived in West Africa around 12,000 B. C, sedentary farming began in, or around the fifth millennium B. C, as well as the domestication of cattle. By 1500 B. C, ironworking technology allowed an expansion of productivity. Northern tribes developed walled settlements and non-walled settlements that numbered at 400, in the forest region, Iron Age cultures began to flourish, and an inter-region trade began to appear. The desertification of the Sahara and the change of the coast cause trade with upper Mediterranean peoples to be seen. Local leather, cloth, and gold also contributed to the abundance of prosperity for many of the following empires. Also, based on the archaeology of city of Kumbi Saleh in modern-day Mauritania, three great kingdoms were identified in Bilad al-Sudan by the ninth century. They included Ghana, Gao and Kanem, the Sosso Empire sought to fill the void, but was defeated by the Mandinka forces of Sundiata Keita, founder of the new Mali Empire. In the 15th century, the Songhai would form a new dominant state based on Gao, in the Songhai Empire, under the leadership of Sonni Ali, further east, Oyo arose as the dominant Yoruba state and the Aro Confederacy as a dominant Igbo state in modern-day Nigeria. The Kingdom of Nri was a West African medieval state in the present-day southeastern Nigeria, the Kingdom of Nri was unusual in the history of world government in that its leader exercised no military power over his subjects. The kingdom existed as a sphere of religious and political influence over a third of Igboland, the Eze Nri managed trade and diplomacy on behalf of the Nri people, and possessed divine authority in religious matters. The Oyo Empire was a Yoruba empire of what is today Western, established in the 15th century, the Oyo Empire grew to become one of the largest West African states. It rose through the organizational skills of the Yoruba, wealth gained from trade. The Benin Empire was an empire located in what is now southern Nigeria. Its capital was Edo, now known as Benin City, Edo and it should not be confused with the modern-day country called Benin, formerly called Dahomey. The Benin Empire was one of the oldest and most highly developed states in the hinterland of West Africa. Olfert Dapper, a Dutch writer, describing Benin in his book Description of Africa and its craft was the most adored and treasured bronze casting in the history of Africa. It was annexed by the British Empire in 1897 during the invasion, in the early 19th century, a series of Fulani reformist jihads swept across Western Africa
West Africa
–
Mansa Musa depicted holding a
gold nugget from a 1395 map of
Africa and
Europe
West Africa
–
West Africa (
UN subregion)
West Africa
–
West Africa circa 1839
West Africa
–
Satellite imagery from
outer space of West Africa
15.
Folkloric
–
Folklore is the body of expressive culture shared by a particular group of people, it encompasses the traditions common to that culture, subculture or group. These include oral traditions such as tales, proverbs and jokes and they include material culture, ranging from traditional building styles to handmade toys common to the group. Folklore also includes customary lore, the forms and rituals of celebrations like Christmas and weddings, folk dances, each one of these, either singly or in combination, is considered a folklore artifact. Just as essential as the form, folklore also encompasses the transmission of these artifacts from one region to another or from one generation to the next, for folklore is not taught in a formal school curriculum or studied in the fine arts. Instead these traditions are passed along informally from one individual to another either through verbal instruction or demonstration, the academic study of folklore is called folkloristics. To fully understand folklore, it is helpful to clarify its component parts and it is well-documented that the term was coined in 1846 by the Englishman William Thoms. He fabricated it to replace the contemporary terminology of popular antiquities or popular literature, the second half of the compound word, lore, proves easier to define as its meaning has stayed relatively stable over the last two centuries. Coming from Old English lār instruction, and with German and Dutch cognates, it is the knowledge and traditions of a particular group, the concept of folk proves somewhat more elusive. When Thoms first created this term, folk applied only to rural, frequently poor, a more modern definition of folk is a social group which includes two or more persons with common traits, who express their shared identity through distinctive traditions. Folk is a concept which can refer to a nation as in American folklore or to a single family. This expanded social definition of folk supports a view of the material, i. e. the lore. These now include all things people make with words, things they make with their hands, Folklore is no longer circumscribed as being chronologically old or obsolete. The folklorist studies the traditional artifacts of a group and how they are transmitted. Transmission is a part of the folklore process. Without communicating these beliefs and customs within the group over space and time, for folklore is also a verb. These folk artifacts continue to be passed along informally, as a rule anonymously, the folk group is not individualistic, it is community-based and nurtures its lore in community. As new groups emerge, new folklore is created… surfers, motorcyclists, in direct contrast to high culture, where any single work of a named artist is protected by copyright law, folklore is a function of shared identity within the social group. Having identified folk artifacts, the professional folklorist strives to understand the significance of these beliefs, customs, for these cultural units would not be passed along unless they had some continued relevance within the group
Folkloric
–
Horse and Sulky weathervane, Smithsonian American Art Museum
Folkloric
–
Hansel and Gretel,
Arthur Rackham, 1909
Folkloric
–
The story of
Jahangir and
Anarkali is popular folklore in the former territories of the
Mughal Empire.
16.
Bass (sound)
–
Bass describes tones of low frequency, pitch and range from 16-256 Hz. In musical compositions, such as songs and pieces, these are the lowest parts of the harmony, in choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. In an orchestra, the lines are played by the double bass and cellos, bassoon or contrabassoon, low brass such as the tuba and bass trombone. In many styles of music such as Bluegrass, folk, and in styles such as Rockabilly and Big Band and Bebop jazz. In most rock and pop bands and in jazz fusion groups, in some 20th and 21st century pop genres, such as 1980s pop, hip hop music and Electronic Dance Music, the bass role may be filled with a bass synthesizer. In popular music, the part, which is called the bassline. The bass player is a member of the section in a band, along with the drummer, rhythm guitarist, and, in some cases. The bass player plays the root or fifth of the chord. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Basso continuo was an approach to writing music during the Baroque music era, keyboard bass Bass drum Double bass Bass guitar Washtub bass Bassoon Bass clarinet Bass saxophone Tuba Bass trombone Euphonium Sub bass Treble Bass clef Figured bass
Bass (sound)
–
Bass voice range.
17.
Music of Greece
–
The music of Greece is as diverse and celebrated as its history. Greek music separates into two parts, Greek traditional music and Byzantine music, with more eastern sounds, Music is a significant aspect of Hellenic culture, both within Greece and in the diaspora. Greek musical history extends far back into ancient Greece, since music was a part of ancient Greek theater. Later influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed the form, in the 19th century, opera composers, like Nikolaos Mantzaros, Spyridon Xyndas and Spyridon Samaras and symphonists, like Dimitris Lialios and Dionysios Rodotheatos revitalized Greek art music. In ancient Greece, men usually performed choruses performed for entertainment, celebration, Instruments included the double-reed aulos and the plucked string instrument, the lyre, especially the special kind called a kithara. Music was an important part of education in ancient Greece, due to Romes reverence for Greek culture, the Romans borrowed the Greek method of enchiriadic notation to record their music, if they used any notation at all. In his lexicographical discussion of instruments, the Persian geographer Ibn Khurradadhbih cited the lūrā as an instrument of the Byzantines along with the urghun, shilyani. These genres have certainly reached a degree of evolution. They were forms of a music that had many elements of ancient Greek origin but also. By the beginning of the 20th century, music-cafés were popular in Greek cities like Constantinople and Smyrna, the bands were typically led by a female vocalist and included a violin. The improvised songs typically exclaimed amán amán, which led to the name amanédhes or café-aman, Greek musicians of this period included Marika Papagika, Rosa Eskenazi and Rita Abatzi. This period also brought in the Rebetiko movement, which had local Smyrnaic, Greek folk traditions are said to derive from the music played by ancient Greeks. There are said to be two musical movements in Greek folk music, Acritic songs and Klephtic songs, akritic music comes from the 9th century akrites, or border guards of the Byzantine Empire. Following the end of the Byzantine period, klephtic music arose before the Greek Revolution, developed among the kleftes, Klephtic music is monophonic and uses no harmonic accompaniment. Many of the earliest recordings were done by Arvanites like Yiorgia Mittaki, instrumentalists include clarinet virtuosos like Petroloukas Halkias, Yiorgos Yevyelis and Yiannis Vassilopoulos, as well as oud and fiddle players like Nikos Saragoudas and Yiorgos Koros. Nisiotika is a term denoting folk songs from the Greek islands. Among the most popular types of them is Ikariótiko traghoúdhi, song from Ikaria, ikariótikos is a traditional type of dance, and also the name of its accompanying type of singing, originating in the Aegean island of Ikaria. At first it was a slow dance, but today Ikariotikos is a very quick dance
Music of Greece
–
Music of Greece
Music of Greece
–
Askomandoura pipes.
Music of Greece
–
Different types of
laouto.
Music of Greece
–
Cretan lyras.
18.
Music of Bulgaria
–
The music of Bulgaria refers to all forms of music associated with the country of Bulgaria, including classical, folk, popular music, and other forms. Notable names from the pop scene are Lili Ivanova, Emil Dimitrov. The State Television Female Vocal Choir is perhaps the Bulgarian folk choir best known around the world and it is worth mentioning the great gaida player Vassil Bebelekov and his wife and authentic Rhodope music singer Maria Bebelekova. She currently lives and theaches in San Jose, Bulgarian music uses a wide range of instruments. Some folk instruments are variants of traditional Asian instruments such as the Saz, More modern style instruments are often used in the modern dance music that was an offshoot of traditional village music. Bulgarian bands use instruments that include, The gaida, a traditional goat-skin bagpipe. There are two types of gaida. The Thracian gaida is tuned either in D or in A, the Rhodopi gaida, called the kaba gaida, is larger, has a much deeper sound and is tuned in F. The kaval, a flute that is very close to the Turkish kaval. The gadulka, a string instrument perhaps descended from the rebec, held vertically, with melody. Also available is a bass gadulka and it is somewhat like the Greek bouzouki and very similar to the Tamburica familys alto instrument, the brac. The tarabuka or dumbek, an hourglass-shaped finger-drum and it is very similar to the Turkish and North African darbouka and the Greek touberleki. Modern professional musicians soon reached new heights of innovation in using traditional Bulgarian instruments, by expanding the capacities of the gaida, gadulka, other, factory-made instruments had arrived in Bulgaria in the 19th century, including the accordion. Bulgarian accordion music was defined by Boris Karlov and later Gypsy musicians including Kosta Kolev, in 1965, the Ministry of Culture founded the Koprivshtitsa National Music Festival, which has become an important event in showcasing Bulgarian music, singing and dance. It is held every five years, and the last festival was August 7–9,2015. Instruments used in wedding music include violin, accordion, clarinet, saxophone, drum set, electric bass, electric guitar, not to be confused with Chalgas folk subgenre Regional styles abound in Bulgaria. Dobrudzha, Sofia, the region surrounding Sofia, Rhodopes, Macedonia, Thrace, Strandzha, Music was also a part of more personal celebrations such as weddings. Singing has always been a tradition for men and women
Music of Bulgaria
–
Gadulka
Music of Bulgaria
–
Bulgarian folk dances in Brussels, Bulgaria’s EU Commissioner
Kristalina Georgieva initiative
Music of Bulgaria
–
Raina Kabaivanska in Tosca, Madrid 2004
19.
Music of Turkey
–
Much of its modern popular music can trace its roots to the emergence in the early 1930s drive for Westernization. With the assimilation of immigrants from various regions the diversity of musical genres, Turkey has also seen documented folk music and recorded popular music produced in the ethnic styles of Greek, Armenian, Albanian, Polish, Azeri and Jewish communities, among others. Many Turkish cities and towns have vibrant local music scenes which, in turn, despite this however, western-style pop music lost popularity to arabesque in the late 70s and 80s, with even its greatest proponents Ajda Pekkan and Sezen Aksu falling in status. It became popular again by the beginning of the 1990s, as a result of an opening economy, with the support of Aksu, the resurging popularity of pop music gave rise to several international Turkish pop stars such as Tarkan and Sertab Erener. Ottoman court music has a large and varied system of modes or scales known as makams, a number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation. Turkish classical music is taught in conservatories and social clubs, the most respected of which is Istanbuls Üsküdar Musiki Cemiyeti, a full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl remains is the same throughout, from the introductory taksim. Composers and Performers Other famous proponents of this genre include Sufi Dede Efendi, Prince Cantemir, Baba Hamparsum, Kemani Tatyos Efendi, Sultan Selim III, the most popular modern Turkish classical singer is Münir Nurettin Selçuk, who was the first to establish a lead singer position. Other performers include Bülent Ersoy, Zeki Müren, Müzeyyen Senar, from the makams of the royal courts to the melodies of the royal harems, a type of dance music emerged that was different from the oyun havası of fasıl music. In the Ottoman Empire, the harem was that part of a house set apart for the women of the family and it was a place in which non-family males were not allowed. Eunuchs guarded the sultans harems, which were large, including several hundred women who were wives and concubines. There, female dancers and musicians entertained the women living in the harem, belly dance was performed by women for women. This female dancer, known as a rakkase, hardly ever appeared in public and this type of harem music was taken out of the sultans private living quarters and to the public by male street entertainers and hired dancers of the Ottoman Empire, the male rakkas. These dancers performed publicly for wedding celebrations, feasts, festivals, modern oriental dance in Turkey is derived from this tradition of the Ottoman rakkas. However, Çiftetelli is now a form of music, with names of songs that describe their local origins. Dancers are also known for their use of finger cymbals as instruments. Romani are known throughout Turkey for their musicianship and their urban music brought echoes of classical Turkish music to the public via the meyhane or taverna. This type of music with food and alcoholic beverages is often associated with the underclass of Turkish society
Music of Turkey
–
Music of Turkey
Music of Turkey
–
A
Preziosi depiction of a Turkish harem
Music of Turkey
–
Kemençe is a popular folk music instrument on Turkey's
Black Sea coast
Music of Turkey
–
Bağlama
20.
Music of Egypt
–
Music has been an integral part of Egyptian culture since antiquity. The Bible documents the instruments played by the ancient Hebrews, all of which are correlated in Egyptian archaeology, Egyptian music probably had a significant impact on the development of ancient Greek music, and via the Greeks was important to early European music well into the Middle Ages. The modern music of Egypt is considered Arabic music as it has been a source for or influence on regional styles. The ancient Egyptians credited the goddess Bat with the invention of music, the cult of Bat was eventually syncretised into that of Hathor because both were depicted as cows. Hathors music was believed to have used by Osiris as part of his effort to civilize the world. The lion-goddess Bastet was also considered a goddess of music, in prehistoric Egypt, music and chanting were commonly used in magic and rituals. Rhythms during this time were ovular and music served to create rhythm, small shells were used as whistles. During the predynastic period of Egyptian history, funerary chants continued to play an important role in Egyptian religion and were accompanied by clappers or a flute, the evidence is for instruments played more securely attested in the Old Kingdom when harps, flutes and double clarinets were played. Percussion instruments and lutes were added to orchestras by the Middle Kingdom, cymbals frequently accompanied music and dance, much as they still do in Egypt today. Typically ancient Egyptian music was composed from the dominant scale. The phrygian dominant scale may often feature a note or two in parts to create tension. For instance the music could typically be in the key of E phrygian dominant using the notes E, F, G sharp, A, B, C, D and then have an A sharp, B, A sharp, G natural and E to create tension. Arabic music is said to have begun in the 7th century in Syria during the Umayyad dynasty. Early Arabic music was influenced by Byzantine, Indian and Persian forms, which were heavily influenced by earlier Greek, Semitic. Egyptians in Medieval Cairo believed that music exercised too powerful an effect upon the passions, however, Egyptians generally were very fond of music. Though, according to E. W. Lane, no man of sense would ever become a musician, tradesmen of every occupation used music during work and schools taught the Quran by chanting. The music of Medieval Egypt was derived from Greek, Persian and Indian traditions, the songs of this period were similar in sound and simple, within a small range of tones. Egyptian song, though simple in form, is embellished by the singer, distinct enunciation and a quavering voice are also characteristics of Egyptian singing
Music of Egypt
–
Musicians of Amun, Tomb of
Nakht,
18th Dynasty, Western Thebes.
Music of Egypt
–
Lute and double pipe players from a painting found in the
Theban tomb of Nebamun, a nobleman of the 18th Dynasty of the
New Kingdom, c. 1350 BC
Music of Egypt
–
Broken Egyptian Sistrum
Music of Egypt
–
Collection of sistrums at the
Louvre
21.
Turkey
–
Turkey, officially the Republic of Turkey, is a transcontinental country in Eurasia, mainly in Anatolia in Western Asia, with a smaller portion on the Balkan peninsula in Southeast Europe. Turkey is a democratic, secular, unitary, parliamentary republic with a cultural heritage. The country is encircled by seas on three sides, the Aegean Sea is to the west, the Black Sea to the north, and the Mediterranean Sea to the south. The Bosphorus, the Sea of Marmara, and the Dardanelles, Ankara is the capital while Istanbul is the countrys largest city and main cultural and commercial centre. Approximately 70-80% of the countrys citizens identify themselves as ethnic Turks, other ethnic groups include legally recognised and unrecognised minorities. Kurds are the largest ethnic minority group, making up approximately 20% of the population, the area of Turkey has been inhabited since the Paleolithic by various ancient Anatolian civilisations, as well as Assyrians, Greeks, Thracians, Phrygians, Urartians and Armenians. After Alexander the Greats conquest, the area was Hellenized, a process continued under the Roman Empire. The Seljuk Sultanate of Rûm ruled Anatolia until the Mongol invasion in 1243, the empire reached the peak of its power in the 16th century, especially during the reign of Suleiman the Magnificent. During the war, the Ottoman government committed genocides against its Armenian, Assyrian, following the war, the conglomeration of territories and peoples that formerly comprised the Ottoman Empire was partitioned into several new states. Turkey is a member of the UN, an early member of NATO. Turkeys growing economy and diplomatic initiatives have led to its recognition as a regional power while her location has given it geopolitical, the name of Turkey is based on the ethnonym Türk. The first recorded use of the term Türk or Türük as an autonym is contained in the Old Turkic inscriptions of the Göktürks of Central Asia, the English name Turkey first appeared in the late 14th century and is derived from Medieval Latin Turchia. Similarly, the medieval Khazar Empire, a Turkic state on the shores of the Black. The medieval Arabs referred to the Mamluk Sultanate as al-Dawla al-Turkiyya, the Ottoman Empire was sometimes referred to as Turkey or the Turkish Empire among its European contemporaries. The Anatolian peninsula, comprising most of modern Turkey, is one of the oldest permanently settled regions in the world, various ancient Anatolian populations have lived in Anatolia, from at least the Neolithic period until the Hellenistic period. Many of these peoples spoke the Anatolian languages, a branch of the larger Indo-European language family, in fact, given the antiquity of the Indo-European Hittite and Luwian languages, some scholars have proposed Anatolia as the hypothetical centre from which the Indo-European languages radiated. The European part of Turkey, called Eastern Thrace, has also been inhabited since at least forty years ago. It is the largest and best-preserved Neolithic site found to date, the settlement of Troy started in the Neolithic Age and continued into the Iron Age
Turkey
–
Some
henges at
Göbekli Tepe were erected as far back as 12,000 BC, predating those of
Stonehenge,
England by almost ten millennia.
Turkey
–
Flag
Turkey
–
The Lion Gate in
Hattusa, capital of the
Hittite Empire. The city's history dates back to the 6th millennium BC.
Turkey
–
The
Library of Celsus in
Ephesus was built by the
Romans in 135 AD. The
Temple of Artemis in Ephesus, built by king
Croesus of
Lydia in the 6th century BC, was one of the
Seven Wonders of the Ancient World.
22.
Romani people
–
The Romani are widely known among English-speaking people by the exonym Gypsies, which some people consider pejorative due to its connotations of illegality and irregularity. Romani are dispersed, with their populations in Europe – especially Central, Eastern and Southern Europe including Turkey, Spain. Since the 19th century, some Romani have also migrated to the Americas, there are an estimated one million Roma in the United States, and 800,000 in Brazil, most of whose ancestors emigrated in the nineteenth century from eastern Europe. Brazil also includes some Romani descended from people deported by the government of Portugal during the Inquisition in the colonial era, in migrations since the late nineteenth century, Romani have also moved to other countries in South America and to Canada. In February 2016, during the International Roma Conference, the Indian Minister of External Affairs stated that the people of the Roma community were children of India. The conference ended with a recommendation to the Government of India to recognize the Roma community spread across 30 countries as a part of the Indian diaspora, the Romani language is divided into several dialects, which add up to an estimated number of speakers larger than two million. The total number of Romani people is at least twice as large, many Romani are native speakers of the language current in their country of residence, or of mixed languages combining the two, those varieties are sometimes called Para-Romani. French bohème, bohémien, from the Kingdom of Bohemia, whence they came, Rom means man or husband in the Romani, it has the variants dom and lom, related with the Sanskrit words dam-pati, dama, lom, lomaka loman, roman. Another possible origin is from Sanskrit डोम doma, Sanskrit सिनधु is a river or stream of water in general. In particular, it denotes the river Indus and the country around it, in the Romani language, Rom is a masculine noun, meaning man of the Roma ethnic group or man, husband, with the plural Roma. The feminine of Rom in the Romani language is Romni, however, in most cases, in other languages Rom is now used for people of all genders. Romani is the adjective, while Romano is the masculine adjective. Some Romanies use Rom or Roma as a name, while others do not use this term as a self-ascription for the entire ethnic group. Sometimes, rom and romani are spelled with a r, i. e. rrom. In this case rr is used to represent the phoneme /ʀ/, the rr spelling is common in certain institutions, or used in certain countries, e. g. Romania, to distinguish from the endonym/homonym for Romanians. In the English language, Rom is a noun and an adjective, while Romani is also a noun, both Rom and Romani have been in use in English since the 19th century as an alternative for Gypsy. Romani was initially spelled Rommany, then Romany, while today the Romani spelling is the most popular spelling, occasionally, the double r spelling mentioned above is also encountered in English texts. The term Roma is increasingly encountered during recent decades, as a term for the Romani people
Romani people
–
Romani wagon pictured in 2009 in
Grandborough (Grandborough Fields Road is a popular spot for travelling people)
Romani people
–
Romani flag created in 1933 and accepted by the 1971
World Romani Congress
Romani people
–
Romani Wagon in
Germany in 1935
Romani people
–
Debret, Jean-Baptiste (c. 1820), Interior of a gipsy's house in
Brazil.
23.
Les Troyens
–
Les Troyens is a French grand opera in five acts by Hector Berlioz. The libretto was written by Berlioz himself from Virgils epic poem the Aeneid, Les Troyens is Berliozs most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety. Berlioz began the libretto on 5 May 1856 and completed it toward the end of June 1856 and he finished the full score on 12 April 1858. Berlioz had an affection for literature, and he had admired Virgil since his childhood. The Princess Carolyne zu Sayn-Wittgenstein was a motivator to Berlioz to compose this opera. At that time I had completed the dramatic work I mentioned earlier, I added that I was all too aware of the pain that such an undertaking would inevitably cause me ever to embark on it. Indeed, the replied, the conjunction of your passion for Shakespeare and your love of antiquity must result in the creation of something grand. You must write this opera, this poem, call it what you like. You must start work on it and bring it to completion and this was more than enough to decide me. Once back in Paris I started to write the lines for the poem of Les Troyens, then I set to work on the score, and after three and a half years of corrections, changes, additions etc. everything was finished. Elsewhere he wrote, The principal merit of the work is, in my view, for Berlioz, truthful representation of passion was the highest goal of a dramatic composer, and in this respect he felt he had equalled the achievements of Gluck and Mozart. In his memoirs, Berlioz described in excruciating detail the intense frustrations he experienced in seeing the work performed, for five years, the Paris Opéra – the only suitable stage in Paris – vacillated. Finally, tired of waiting, he agreed to let Léon Carvalho, director of the smaller Théâtre Lyrique and it consisted of Acts 3 to 5, redivided by Berlioz into five acts, to which he added an orchestral introduction and a prologue. As Berlioz noted bitterly, he agreed to let Carvalho do it despite the manifest impossibility of his doing it properly and he had just obtained an annual subsidy of a hundred thousand francs from the government. None the less the enterprise was beyond him and his theater was not large enough, his singers were not good enough, his chorus and orchestra were small and weak. Even with this version of the opera, many compromises and cuts were made, some during rehearsals. The new second act was the Chasse Royale et Orage, an elaborate pantomime ballet with nymphs, sylvans, and fauns and a chorus. Since the set change for this took nearly an hour, it was cut, despite the fact its staging had been greatly simplified with a painted waterfall
Les Troyens
–
Hector Berlioz
Les Troyens
–
Cover of the first edition vocal score of La prise de Troie, the first two acts of Les Troyens
Les Troyens
–
Cover of the 1863 Choudens et Cie vocal score for Les Troyens à Carthage, the second half of the opera, and first part performed.
Les Troyens
–
Cover of the Choudens et Cie score.
24.
Hector Berlioz
–
Hector Berlioz was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts. Berlioz made significant contributions to the orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works, and he also composed around 50 songs. His influence was critical for the development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss. Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, Louis was an agnostic, with a liberal outlook, his mother, Marie-Antoinette, was a devout Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood, the other two, Nanci and Adèle, remained close to Berlioz throughout his life. Berlioz was not a prodigy, unlike some other famous composers of the time, he began studying music at age 12, writing small compositions. As a result of his fathers discouragement, he never learned to play the piano and he became proficient at guitar, flageolet and flute. He learned harmony from textbooks alone—he was not formally trained, the majority of his early compositions were romances and chamber pieces. While yet at age twelve, as recalled in his Mémoires, he experienced his first passion for a woman and he also began to visit the Paris Conservatoire library, seeking out scores of Glucks operas and making personal copies of parts of them. He recalled in his Mémoires his first encounter with Luigi Cherubini, Cherubini attempted to throw the impetuous Berlioz out of the library since he was not a formal music student at that time. Berlioz also heard two operas by Gaspare Spontini, a composer who influenced him through their friendship, and whom he later championed when working as a critic, from then on, he devoted himself to composition. He was encouraged in his endeavors by Jean-François Le Sueur, director of the Royal Chapel, in 1823, he wrote his first article—a letter to the journal Le corsaire defending Spontinis La vestale. Despite his parents disapproval, in 1824 he formally abandoned his studies to pursue a career in music. This work was rehearsed and revised after the rehearsal but not performed until the following year, Berlioz later claimed to have burnt the score, but it was re-discovered in 1991. Later that year or in 1825, he began to compose the opera Les francs-juges, the work survives only in fragments, the overture has been much recorded and is sometimes played in concert. In 1826 he began attending the Conservatoire to study composition under Jean-François Le Sueur and he also submitted a fugue to the Prix de Rome, but was eliminated in the primary round. Winning the prize would become an obsession until he won it in 1830
Hector Berlioz
–
Crop of a
carte de visite photo of Hector Berlioz by Franck, Paris, c. 1855
Hector Berlioz
–
Drawing of
Harriet Smithson as
Ophelia in Shakespeare's
Hamlet
Hector Berlioz
–
Lithograph of Berlioz by
August Prinzhofer, Vienna, 1845. Berlioz considered this to be a good likeness.
Hector Berlioz
–
Painting of a young Berlioz by
Émile Signol, 1832.
25.
Halim El-Dabh
–
Halim Abdul Messieh El-Dabh is an Egyptian American composer, performer, ethnomusicologist, and educator, who has had a career spanning six decades. He is particularly known as a pioneer of electronic music. In 1944 he composed one of the earliest known works of tape music, from the late 1950s to early 1960s he produced influential work at the Columbia-Princeton Electronic Music Center. El-Dabh was born and grew up in Sakakini, Cairo, Egypt, the family name means the hyena and is not uncommon in Egypt. In 1932 the family relocated to the Cairo suburb of Heliopolis, although his main income was derived from his job as an agricultural consultant, he achieved recognition in Egypt from the mid- to late 1940s for his innovative compositions and piano technique. It was while he was still a student in Cairo that he began his experiments in electronic music, El-Dabh first conducted experiments in sound manipulation with wire recorders there in the early 1940s. By 1944, he had composed one of the earliest known works of music or musique concrète, called The Expression of Zaar. He thus discovered the potential of sound recordings as raw material to compose music and his final 20-25 minute piece was recorded onto magnetic tape and called The Expression of Zaar, which was publicly presented in 1944 at an art gallery event in Cairo. Following a well received 1949 performance at the All Saints Cathedral in Cairo, El-Dabh and his family rented a house in Demarest, New Jersey before buying a home in Cresskill, New Jersey where they lived for some time. El-Dabh soon became a part of the New York new music scene of the 1950s, alongside such like-minded composers as Henry Cowell, John Cage, Edgard Varèse, Alan Hovhaness and he obtained U. S. citizenship in 1961. Among El-Dabhs works are four ballet scores for Martha Graham, including her masterpiece Clytemnestra, as well as One More Gaudy Night, A Look at Lightning, El-Dabhs primary instruments are the piano and darabukha, and consequently many of his works are composed for these instruments. In 1958 he performed the solo part in the New York City premiere of his Fantasia-Tahmeel for darabukha and string orchestra. In 1959 he composed works for an ensemble of percussion instruments from India. Some of his compositions also made use of Columbia-Princetons RCA Synthesizer. He worked there sporadically until 1961, creating various tape works, other composers he had become acquainted with at Columbia-Princeton include John Cage, Aaron Copland, and Leonard Bernstein. According to El-Dabh, “The creative process comes from interacting with the material, when you are open to ideas and thoughts the music will come to you. The organic textures and raw energy of Leiyla and the Poet in particular inspired many early electronic music composers, Leiyla and the Poet also featured a sonorous, echoing voice, sonar signals, distorted ouds, percussion that sounds like metal, and shadowy, shifting dream music. El-Dabh also helped introduce an Egyptian folk sensibility to Western avant-garde music, a definitive collection of El-Dabhs electronic work was restored by Mike Hovancsek
Halim El-Dabh
–
Halim El-Dabh at a
Cleveland festival in 2009.
26.
New York City
–
The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
New York City
–
Clockwise, from top:
Midtown Manhattan,
Times Square, the
Unisphere in
Queens, the
Brooklyn Bridge,
Lower Manhattan with
One World Trade Center,
Central Park, the
headquarters of the United Nations, and the
Statue of Liberty
New York City
–
New Amsterdam, centered in the eventual
Lower Manhattan, in 1664, the year
England took control and renamed it "New York".
New York City
–
The
Battle of Long Island, the largest battle of the
American Revolution, took place in
Brooklyn in 1776.
New York City
–
Broadway follows the Native American Wickquasgeck Trail through Manhattan.
27.
Leopold Stokowski
–
Leopold Anthony Stokowski was a British conductor of Polish and Irish descent. One of the conductors of the early and mid-20th Century, he is best known for his long association with the Philadelphia Orchestra. He was especially noted for his conducting style that spurned the traditional baton. He was also the founder of the All-American Youth Orchestra, the New York City Symphony, the Hollywood Bowl Symphony Orchestra, there is some mystery surrounding his early life. For example, he spoke with an unusual, non-British accent, though he was born and raised in London. On occasion, Stokowski gave his year of birth as 1887 instead of 1882, as in a letter to the Hugo Riemann Musiklexicon in 1950, in Germany there was a corresponding rumour that his original name was simply Stock. However, Stokowskis birth certificate gives his birth on 18 April 1882, at 13 Upper Marylebone Street, Stokowski was named after his Polish-born grandfather Leopold, who died in the English county of Surrey on 13 January 1879, at the age of 49. Samaroff, born Lucy Mary Agnes Hickenlooper, was from Galveston, Texas, for professional and career reasons, she urged him to emphasize only the Polish part of his background once he became a resident of the United States. He studied at the Royal College of Music, where he first enrolled in 1896 at the age of thirteen, in his later life in the US, Stokowski would perform six of the nine symphonies composed by his fellow organ student Ralph Vaughan Williams. Stokowski sang in the choir of the St Marylebone Parish Church, by age 16, Stokowski was elected to a membership in the Royal College of Organists. In 1900, he formed the choir of St. Marys Church, Charing Cross Road, in 1902, he was appointed the organist and choir director of St. Jamess Church, Piccadilly. He also attended The Queens College, Oxford, where he earned a Bachelor of Music degree in 1903, in 1905, Stokowski began work in New York City as the organist and choir director of St. Bartholomews Church. He was very popular among the parishioners, who included members of the Vanderbilt family, Stokowski moved to Paris for additional study in conducting. There he heard that the Cincinnati Symphony Orchestra would be needing a new conductor when it returned from a long sabbatical, Stokowski was selected over the other applicants, and took up his conducting duties in late 1909. Stokowskis conducting debut in London took place the week on 18 May with the New Symphony Orchestra at Queens Hall. His engagement as new permanent conductor in Cincinnati was a great success and he introduced the concept of pops concerts and, starting with his first season, he began championing the work of living composers. His concerts included performances of music by Richard Strauss, Sibelius, Rachmaninoff, Debussy, Glazunov, Saint-Saëns and he conducted the American premieres of new works by such composers as Elgar, whose 2nd Symphony was first presented there on 24 November 1911. He was to maintain his advocacy of music to the end of his career
Leopold Stokowski
–
Leopold Stokowski, photographed by
George Grantham Bain.
Leopold Stokowski
–
Edward Elgar, c. 1900.
Leopold Stokowski
–
Strauss with his wife and son, 1910.
Leopold Stokowski
–
Stokowski and the Philadelphia Orchestra at the 2 March 1916 American premiere of
Mahler 's
8th Symphony.
28.
Hossam Ramzy
–
Hossam Ramzy is an Egyptian percussionist and composer. He has worked with Western artists like Jimmy Page and Robert Plant as well as with Arabic music artists like Rachid Taha, Ramzy was born into a wealthy Cairo family. He began playing the darbuka and tabla at an early age and he moved to Saudi Arabia for a time and learned traditional Bedouin music styles. In the 1970s he moved to London and began playing with saxophonist Andy Sheppard and his collaborations with jazz musicians earned him the nickname The Sultan of Swing. In 1989 he worked with Peter Gabriel on the soundtrack to Martin Scorseses The Last Temptation of Christ and this brought him to the attention of artists such as Frank Asher and the Gipsy Kings. In 1994 he returned to his roots and formed a ten piece Egyptian ensemble that performed on the album No Quarter, Jimmy Page, Ramzy and his ensemble also gained exposure by touring with Plant and Page throughout 1995 in support of their album. The next year Ramzy released the first of three collaborations with English arranger Phil Thornton, Eternal Egypt, the success of Eternal Egypts blend of Arabic music prompted the follow up albums Immortal Egypt and Enchanted Egypt. In 1996, Hossam and his percussion section played with Big Country in Dingwalls club, from this event was recorded Eclectic. In 1998, he performed with Rachid Taha, Khaled and Faudel at their 1,2,3 Soleils concert, in 2000, Jay-Z sampled his version of Khosara for Big Pimpin. After 2000 Ramzy increasingly began to work arranging music for pop stars, in 2005 he arranged some songs for Ricky Martins album Life and he worked with Shakira on her album She Wolf. He also contributed two songs to the soundtrack for the film Prince of Persia and one to the soundtrack for Conan The Barbarian and his latest album titled Rock the Tabla released on 30 August 2011. Rahman, Omar Faruk Tekbilek, Manu Katché and Billy Cobham, Ramzy lives in London and Cairo with his wife, Brazilian belly dancer Serena. He made a appearance in the 1993 film Son of the Pink Panther
Hossam Ramzy
–
Hossam Ramzy
29.
Tombak
–
The tompak, also tombak, donbak, dombak or zarb, is a goblet drum from Persia. It is considered the principal instrument of Persian music. The tonbak is normally positioned diagonally across the torso while the player one or more fingers and/or the palm of the hand on the drumhead. Sometimes tonbak players wear metal rings for an extra-percussive click on the drums shell. Tonbak virtuosi perform solos lasting ten minutes or more, the tompak had been used to create a goblet drum. The tombak is a goblet drum about 43 cm in height with a 28 cm diameter head. Its shell is carved from a block of wood, maybe with a carved design or geometric pattern. At the bottom the shell is somewhat thicker than at the top for strength, the shells wall thickness is approximately 2 cm. The throat is nearly cylindrical and connects the top cavity to the hollow base, a sheepskin or goatskin head is stretched and secured with glue, tacks or both. The fairly wide top opening permits full bass tone as well as various treble tones, tonbaks with adjustable tuning have been produced experimentally but the head tension is normally fixed prior to performance with careful attention to the temperature and humidity. The player may heat or cool or dampen or dry the membrane to reach a fundamental pitch. The pitch can be raised somewhat during a performance by applying finger pressure, typically, two or three clearly contrasting timbres are played in an antiphonal style. Goblet-shaped drums are played in different regions of Asia, Eastern Europe, although similarities exist among all goblet drums, the techniques for playing the tonbak are different from most other goblet drums. The modern tonbak described in this page is most closely associated with the music of Iran, the tonbak was not considered a virtuoso solo instrument until the pioneering work of Ostad Hossein Tehrani in the 1950s, as well as innovations of Ostad Nasser Farhangfar and others. Modern tonbak players are exponentially expanding the techniques used in playing the instrument, the most notable present day tonbak maker is Ostad Helmi who still lives and works in Tehran Iran. Instruments in his studio are often carved and laid with ornate Khatam-kari done by masters outside Tehran. The Tonbak was not considered an instrument until the pioneering work of Hossein Tehrani in the 1950s. His pupils included Mohammad Esmaili, Jahangir Malek, Jamshid Chemirani, Amir Nasser Eftetah, renowned teacher whose disciple Bahman Rajabi and his knowledge of poetry and a clear and powerful voice make an improviser and especially an outstanding accompanist, always anticipating phrases soloist
Tombak
–
Tombak made in Isfahan
Tombak
–
Hossein Tehrani is known as a pioneer of playing the tombak in 20th century Persian music
30.
Ashiko
–
The ashiko is a drum, shaped like a tapered cylinder with the head on the wide end, and the narrow end open. It is made of hardwood and generally has a goatskin hide and it is played with the hands, and tuned by ropes. Ashiko drums – or variants thereof – are traditionally found in West Africa, the origins of the ashiko drum are traced to the Yoruba culture in present-day Nigeria and Benin, West Africa. The word “ashiko” is also traced to a word in the Yoruba language meaning either “drum” or time-frame or “freedom”, the drum has a long tradition in Yoruba culture, where the drum functioned in community celebrations, as well as a “talking drum”. Traditional ashikos were/are hand carved from a lug of wood and were not straight cones. In Cuba specifically, “ashiko-like” drums can be identified in the known as “bocú” in Eastern Cuba. Drums similarly shaped to the ashiko - including the cone form - can also be found in Afro-Colombian music, as well as in Afro-Brazilian music. The latter, from the Bahia region, tends to have however synthetic heads and is, unlike the ashiko, tuned by pegs. The African/Nigerian ashiko as such first got disseminated and popularized in some circles in the USA in the 1930s, some call the ashiko a male counterpart to the djembe, though this is contradicted by references to the relatively matriarchal Yoruba culture. It is a drum in itself and not a counterpart or derivative, there is, besides this, a geographical difference, as the djembe’s origins are associated with the Mali empire, and the ashiko’s as said with Yorubaland. Some percussionists argue that the ashiko knows more middle tones when compared to the djembe, modern ashiko drums produced in the West are often made of vertical staves. Like other drums they can be purchased with the standard 8,10, ashikos tuned by lugs and metal tacks are nowadays also produced. Some manufacturers use cow hide to make the ashiko resemble an Afro-Cuban conga
Ashiko
–
Ashiko
31.
Tonbak
–
The tompak, also tombak, donbak, dombak or zarb, is a goblet drum from Persia. It is considered the principal instrument of Persian music. The tonbak is normally positioned diagonally across the torso while the player one or more fingers and/or the palm of the hand on the drumhead. Sometimes tonbak players wear metal rings for an extra-percussive click on the drums shell. Tonbak virtuosi perform solos lasting ten minutes or more, the tompak had been used to create a goblet drum. The tombak is a goblet drum about 43 cm in height with a 28 cm diameter head. Its shell is carved from a block of wood, maybe with a carved design or geometric pattern. At the bottom the shell is somewhat thicker than at the top for strength, the shells wall thickness is approximately 2 cm. The throat is nearly cylindrical and connects the top cavity to the hollow base, a sheepskin or goatskin head is stretched and secured with glue, tacks or both. The fairly wide top opening permits full bass tone as well as various treble tones, tonbaks with adjustable tuning have been produced experimentally but the head tension is normally fixed prior to performance with careful attention to the temperature and humidity. The player may heat or cool or dampen or dry the membrane to reach a fundamental pitch. The pitch can be raised somewhat during a performance by applying finger pressure, typically, two or three clearly contrasting timbres are played in an antiphonal style. Goblet-shaped drums are played in different regions of Asia, Eastern Europe, although similarities exist among all goblet drums, the techniques for playing the tonbak are different from most other goblet drums. The modern tonbak described in this page is most closely associated with the music of Iran, the tonbak was not considered a virtuoso solo instrument until the pioneering work of Ostad Hossein Tehrani in the 1950s, as well as innovations of Ostad Nasser Farhangfar and others. Modern tonbak players are exponentially expanding the techniques used in playing the instrument, the most notable present day tonbak maker is Ostad Helmi who still lives and works in Tehran Iran. Instruments in his studio are often carved and laid with ornate Khatam-kari done by masters outside Tehran. The Tonbak was not considered an instrument until the pioneering work of Hossein Tehrani in the 1950s. His pupils included Mohammad Esmaili, Jahangir Malek, Jamshid Chemirani, Amir Nasser Eftetah, renowned teacher whose disciple Bahman Rajabi and his knowledge of poetry and a clear and powerful voice make an improviser and especially an outstanding accompanist, always anticipating phrases soloist
Tonbak
–
Tombak made in Isfahan
Tonbak
–
Hossein Tehrani is known as a pioneer of playing the tombak in 20th century Persian music
32.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
33.
The New Grove Dictionary of Music and Musicians
–
The New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is one of the largest reference works on Western music, in recent years it has been made available as an electronic resource called Grove Music Online, which is now an important part of Oxford Music Online. A Dictionary of Music and Musicians was first published in four volumes edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume, an Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. In 1900, minor corrections were made to the plates and the series was reissued in four volumes. The original edition and the reprint are now available online. Grove limited the chronological span of his work to begin at 1450 while continuing up to the present day, the second edition, in five volumes, was edited by Fuller Maitland and published from 1904 to 1910, this time as Groves Dictionary of Music and Musicians. The individual volumes of the edition were reprinted many times. An American Supplement edited by Waldo Selden Pratt and Charles N. Boyd was added in 1920 and this edition removed the first editions beginning date of 1450, though important earlier composers and theorists are still missing from this edition. These volumes are now freely available online. The third edition, also in five volumes, was a revision of the 2nd edition. The fourth edition, also edited by Colles, was published in 1940 in five volumes, in addition to the American Supplement, MacMillan also published a Supplementary Volume edited by Colles. The fifth edition, in nine volumes, was edited by Eric Blom and this was the most thoroughgoing revision of the work since its inception, with many articles rewritten in a more modern style and a large number of entirely new articles. Many of the articles were written by Blom personally, or translated by him, an additional Supplementary Volume, prepared for the most part by Eric Blom, followed in 1961. Blom died in 1959, and the Supplementary Volume was completed by Denis Stevens, the fifth edition was reprinted in 1966,1968,1970,1973, and 1975. The next edition was published in 1980 under the name The New Grove Dictionary of Music and its senior editor was Stanley Sadie with Nigel Fortune also serving as one of the main editors for the publication. It was reprinted with minor corrections each subsequent year until 1995, in the mid-1990s, the hardback set sold for about $2,300. A paperback edition was reprinted in 1995 which sold for $500, the second edition under this title was published in 2001, in 29 volumes. It was also available by subscription on the internet in a service called Grove Music Online
The New Grove Dictionary of Music and Musicians
–
The New Grove Dictionary of Music and Musicians
34.
List of percussion instruments
–
This is a wide-ranging, inclusive list of percussion instruments. It includes, Instruments classified by Hornbostel–Sachs as struck or friction idiophones, where an instrument meets this definition but is often or traditionally excluded from the term percussion this is noted. Instruments commonly used as unpitched and/or untuned percussion, Instruments commonly part of the percussion section of a band or orchestra. These three groups overlap heavily, but inclusion in any one is sufficient for an instrument to be included in this list, however, when only a specific subtype of the instrument qualifies as a percussion instrument, only that subtype is listed here. For example, a whistle is an unpitched percussion instrument. For brevity, synonyms represented in Wikipedia by redirects to an article are not listed. Only the main names are listed in these cases. For example, apito is listed but samba whistle is merely noted as an alternate name, a distinct instrument or type represented only by a redirect to an article section should however be shown. Instruments represented only by redlinks have no Wikipedia articles as yet but are shown, see list of percussion instruments by type for some shorter, more focused lists. Use the sorting arrows on the common usage column to group instruments as pitched, unpitched or both, use the sorting arrows on the Classification column to group instruments according to their Hornbostel–Sachs classification
List of percussion instruments
–
Acme siren
List of percussion instruments
–
Instruments
classified by Hornbostel–Sachs as struck or friction
idiophones, struck or friction
membranophones or struck
chordophones. Where an instrument meets this definition but is often or traditionally excluded from the term percussion this is noted.
List of percussion instruments
–
Afoxé
List of percussion instruments
–
Agogô
35.
Pitched percussion
–
The term pitched percussion is now preferred to the traditional term tuned percussion, Pitching of percussion instruments is achieved through a variety of means. Membranophones are tuned by altering the tension of the face that is struck. Mallet percussion instruments gain their pitch through physical characteristics such as composition, density, alternatively, other percussion instruments can gain pitch through variation of air volume displaced. Many untuned percussion instruments, such as the drum, are tuned by the player. Untuned percussion instruments can and frequently do make sounds that could be used as pitched notes in an appropriate context, some percussion instruments, and particularly many types of bell and closely related instruments, are sometimes used as pitched percussion, and at other times as unpitched percussion. Some percussion instruments, such as the drum, are almost always used as unpitched percussion. Pitched percussion includes the classes of, Mallet percussion, instruments such as the glockenspiel and chime bars. Keyboard percussion, instruments such as the glockenspiel and tubular bells arranged in a particular way, melodic percussion, instruments used to produce several different pitches
Pitched percussion
–
A
glockenspiel and a set of
crotales in use
Pitched percussion
–
A
chime bar in G
Pitched percussion
–
A chromatic set of tuned
cowbells
36.
Carillon
–
A carillon is a musical instrument that is typically housed in the bell tower of a church or municipal building. The instrument consists of at least 23 cast bronze, cup-shaped bells, a traditional manual carillon is played by striking a keyboard – the stick-like keys of which are called batons – with the fists, and by pressing the keys of a pedal keyboard with the feet. Although unusual, real carillons have occasionally been fitted to theatre organs, such as the Christie organ installed at the Regal Cinema, Marble Arch, a carillon-like instrument with fewer than 23 bells is called a chime. The carillon is the second heaviest of all extant musical instruments, the heaviest carillon in the world weighs over 100 tons, whereas the Wanamaker organ in Philadelphia weighs 287 tons. The word carillon is from the French quadrillon, meaning four bells, in German, a carillon is also called a Glockenspiel, while the percussion instrument called a glockenspiel by English speakers is often called a carillon in French. In medieval times, swinging bells were first used as a way of notifying people of imminent church services, however, the use of bells to play melodic musical compositions originated in the 16th century in the Low Countries. The first carillon was in Flanders, where a fool performed music on the bells of Oudenaarde Town Hall in 1510 by using a baton keyboard, major figures in the evolution of the modern carillon were Pieter and François Hemony working in the 17th century. They are credited as being the greatest carillon bell founders in the history of the Low Countries, since each separate note is produced by an individual bell, a carillons musical range is determined by the number of bells it has. Different names are assigned to instruments based on the number of bells they comprise, players of these instruments often use music arranged specifically for their limited range of notes. A concert carillon has a range of at least four octaves and this is sometimes referred to as the standard-sized carillon. The Riverside Carillon in New York City has the largest tuned bell in the world. Travelling or mobile carillons are not placed in a tower, some of them can even be played indoors—in a concert hall or church—like the mobile carillon of Frank Steijns. The World Carillon Federation defines a carillon as A musical instrument composed of tuned bronze bells which are played from a baton keyboard, only those carillons having at least 23 bells may be taken into consideration. The carillonneur or carillonist is the title of the musician who plays the carillon, the carillonneur/carillonist usually sits in a cabin beneath the bells and presses down, with a loosely closed fist, on a series of baton-like keys arranged in the same pattern as a piano keyboard. The batons are almost never played with the fingers as one does a piano, though this is sometimes used as a special carillon playing technique. The keys activate levers and wires that directly to the bells clappers, thus, as with a piano. In addition to the keys, the heavier bells are also played with a pedal keyboard. These notes can either be played with the hands or the feet, poorly tuned bells often give an out of tune impression and also can be out of tune with themselves
Carillon
–
The carillon in
Munich 's
Olympiapark
Carillon
–
The
Cast in Bronze traveling carillon at the Colorado Renaissance Festival in June 2008
Carillon
–
The 56-bell carillon at the
Plummer Building,
Rochester, Minnesota
Carillon
–
Machinery for playing automated music on a carillon, inside the
Belfry,
Ghent, Belgium
37.
Crotales
–
Crotales, sometimes called antique cymbals, are percussion instruments consisting of small, tuned bronze or brass disks. Each is about 10 cm in diameter with a top surface. They are commonly played by being struck with hard mallets, however, they may also be played by striking two disks together in the same manner as finger cymbals, or by bowing. Their sound is rather like a small tuned bell, only with a brighter sound. Like tuned finger cymbals, crotales are thicker and larger, they also have grooves in them which give their sound more sparkle. The name comes from the Greek crotalon, for a castanet or rattle, modern crotales are arranged chromatically and have a range of up to two octaves. They are typically available in sets but may also be purchased individually, crotales are treated as transposing instruments, music for crotales is written two octaves lower than the sounding pitch, to minimize ledger lines. Crotal bells are a type of bell, mostly medieval. A different form of crotal is found in Prehistoric Ireland, the National Museum of Ireland and British Museum have several examples on display dating from the late Bronze Age which were found in the Dowris Hoard, alongside various brass wind instruments. These are bronze cylinders in the shape of a bulls testicle. It is presumed they functioned as a type of rattle, the hoard had 48 of them in total, in two sizes. Only two other examples are known, both Irish, One of the earliest uses of crotales in the orchestral repertoire is Claude Debussys Prélude à laprès-midi dun faune. Other classical pieces featuring crotales include Hector Berliozs Symphonie Roméo et Juliette, in Igor Stravinskys The Rite of Spring, the score calls for two crotales in A♭ and B♭, and his Les noces ends on a plaintive series of chords struck by a combination of chimes and crotales. Another orchestral piece, From Me Flows What You Call Time by Toru Takemitsu, in Joseph Schwantners. and the mountains rising nowhere, the composer calls for the instrument to be bowed with a double bass bow, producing an eerie, sustained glass harmonica-like effect. Karlheinz Stockhausens Mantra features pianists using crotales along with ring modulators, the contemporary American composer John Adams also uses them in many of his more colourful orchestral pieces such as Short Ride in a Fast Machine. Rock drummer Neil Peart uses crotales as part of his drum kit. Progressive metal drummer Mike Portnoy used a set in the Awake. Jocie Adams of The Low Anthem plays the instrument in the manner in their live shows
Crotales
–
Crotales
Crotales
–
Crotales, C6-C8 range (by maker Paiste).
38.
Glockenspiel
–
A glockenspiel is a percussion instrument composed of a set of tuned keys arranged in the fashion of the keyboard of a piano. In this way, it is similar to the xylophone, however, the glockenspiel, moreover, is usually smaller and higher in pitch. In German, a carillon is also called a Glockenspiel, while in French, in music scores the glockenspiel is sometimes designated by the Italian term campanelli. When used in a marching or military band, the bars are mounted in a portable case and held vertically. However, sometimes the bars are held using a harness similar to a marching snare harness. In orchestral use, the bars are mounted horizontally, a pair of hard, unwrapped mallets, generally with heads made of plastic or metal, are used to strike the bars, although mallet heads can also be made of rubber. If laid out horizontally, a keyboard glockenspiel may be contrived by adding a keyboard to the instrument to facilitate playing chords, another method of playing chords is to use four mallets, two per hand. The glockenspiel is limited to the register, and usually covers about two and a half to three octaves, but can also reach up to three and a half octaves. The glockenspiel is an instrument, its parts are written two octaves below the sounding notes. When struck, the give an very pure, bell-like sound. Glockenspiels are quite popular and appear in almost all genres of music ranging from hip-hop to jazz. A keyboard-operated glockenspiel, as played by Danny Federici on such hit songs as Born to Run and Hungry Heart, is considered part of Bruce Springsteen, john Lennon also plays it on Only a Northern Song. Panic. at the Disco have used glockenspiel in several of their songs, including their hits I Write Sins Not Tragedies and Build God, Then Well Talk. Radiohead have used glockenspiel on their single No Surprises as well as on The Tourist, Lull, Morning Bell/Amnesiac, Sit Down/Stand Up, songs From the Wood, Heavy Horses and Stormwatch. Solo glockenspiel can be heard briefly, but notably at the beginning of Shostakovichs 15th Symphony, a modern example of the glockenspiel can be heard in Steve Reichs 1970–71 composition Drumming, in which the glockenspiel plays a major role in the third and fourth movements. Other instruments that work on the same principle as the glockenspiel include the marimba. The Dulcitone has a sound to the glockenspiel since its sound is made by hammers striking tuning forks. The dulcitone uses soft hammers which damp the forks, compared to the hammers of the glockenspiel
Glockenspiel
–
Glockenspiel
Glockenspiel
–
A Mardi Gras musician playing a glockenspiel.
Glockenspiel
–
Two bell lyres in use
Glockenspiel
–
Most orchestral glockenspiels are mounted in a case
39.
Handbell
–
A handbell is a bell designed to be rung by hand. An individual handbell can be used simply as a signal to catch peoples attention or summon them together, the first tuned handbells were developed by brothers Robert and William Cor in Aldbourne, Wiltshire, England, between 1696 and 1724. Originally, tuned sets of handbells, such as the ones made by the Cor brothers, were used by change ringers to rehearse outside their towers. The handbell sets used by change ringers had the number of bells as in the towers - generally six or 12 tuned to a diatonic scale. Handbells were first brought to the United States from England by Margaret Shurcliff in 1902, the bells used in American handbell choirs are almost always English handbells. English handbells is a reference to a type of handbells. While some American handbell choirs do use bells made in England, in America, however, they are all called English handbells. The two major defining characteristics of English handbells are their clappers and ability to produce overtones, the clapper on an English handbell is on a hinge and moves back and forth in a single direction, unlike a school bell in which the clapper swings freely in any direction. It also has a spring that holds the clapper away from the casting after the strike to allow the bell to ring freely, furthermore, the shaft of the clapper is rigid, such that the bell may be held with its mouth facing upward. The overtones on an English handbell are a 12th above the fundamental, Handbells can weigh as little as 7 oz or upwards of 18 lb. A handbell choir or handbell ensemble or handbell team is a group that rings recognizable music with melodies and harmony, the bells used generally include all notes of the chromatic scale within the range of the bell set. While a smaller group uses only 25 bells, the sets are often larger, the bells are typically arranged chromatically on foam-covered tables, these tables protect the bronze surface of the bell, as well as keep the bells from rolling when placed on their sides. The coordination of the bell ringers requires a different approach than other ensembles, all the ringers read from a complete score. Handbell music is one octave lower than the actual sound the bells make. A few composers and arrangers write longer and more works for handbells. The tone of the bell will continue to resonate, decaying naturally until it completely, or until the ringer stops the tone by damping the bell with a hand, on the body. Handbell techniques have changed much over the years. He is also credited for promoting precise damping or stopping of the sound by touching the bell casting to a soft surface
Handbell
–
Handbell
Handbell
–
Two English Handbells, manufactured by
Whitechapel Bell Foundry.
Handbell
–
Handbell Choir Practicing
Handbell
–
Hand bells hung chromatically from stand
40.
Handchime
–
Handchimes are musical instruments which are rung by hand, similar to handbells. Typically, they are tuned square tubes with a clapper mechanism. Many handbell techniques can also be applied to handchimes, though some are difficult or impossible. Handchimes were originally intended to be used as a tool for prospective handbell ringers. They are cheaper, easier, lighter and more resilient than handbells, making them accessible for school groups, church youth choirs. Handchimes are also rung in conjunction with handbells. Certain handbell pieces will involve playing handbells and handchimes at the same time, handbell ensembles will frequently have a collection of handchimes to use along with their handbells. Handchimes are also used in classrooms to teach music, as of 2009, there are 3 manufacturers of handchimes in the United States, Malmark Schulmerich Suzuki
Handchime
–
Handchime
41.
Hang (instrument)
–
The Hang is a musical instrument in the idiophone class created by Felix Rohner and Sabina Schärer in Bern, Switzerland. The name of their company is PANArt Hangbau AG, the Hang is sometimes referred to as a hang drum, but the inventors consider this a misnomer and strongly discourage its use. The instrument is constructed from two half-shells of deep drawn, nitrided steel sheet glued together at the rim leaving the inside hollow, the top side has a center note hammered into it and seven or eight tone fields hammered around the center. The bottom is a surface that has a rolled hole in the center with a tuned note that can be created when the rim is struck. The Hang uses some of the basic physical principles as a steelpan. The creation of the Hang was the result of years of research on the steelpan. The inventors of the Hang have continued to refine the shape, the name Hang comes from the Bernese German word for hand. It is a trademark and property of PANArt Hangbau AG. The Hang is typically played resting on the players lap, the Hang is generally played with the hands and fingers instead of mallets. This lighter means of playing produces a sound that could be considered softer and warmer than the bright sound of a mallet based traditional steelpan. The top side of the Hang, depending on how it is played, can sound like a harp, bells, each tone field has multiple overtones oriented specifically in the flattened field with a dome at the center. Typically there is a tone, an overtone tuned to an octave above that fundamental. The orientation is fairly consistent across the fields on each Hang so that the overtones can be highlighted, muted, or extracted based on how and where the player strikes the tone field. The bottom side of the Hang has an opening, the Gu. In the 1st and 2nd generation models there is a high note with a long sustain that can be generated by striking the rim of the hole on the Gu side. In the Integral Hang there are two notes that can be generated, the Hang can also be used as a friction idiophone. Shaker-like sounds can be made by sliding a hand across the surface, the Hang was developed in the year 2000 and introduced at the Musikmesse Frankfurt in 2001. It is 52 cm in diameter and has a height of 24 cm, the two deep drawn steel hemispheres of the Hang are hardened by a process known as gas-nitriding
Hang (instrument)
–
Free Integral Hang (2010)
Hang (instrument)
–
Manu Delago playing a first generation Hang
Hang (instrument)
–
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Hang (instrument)
42.
Marimba
–
The marimba is a percussion instrument consisting of a set of wooden bars struck with mallets to produce musical tones. Resonators suspended underneath the bars amplify their sound and this instrument is a type of idiophone, but with a more resonant and lower-pitched tessitura than the xylophone. The marimba was developed in Central America by African slaves, and descended from its ancestral balafon instrument, Marimba is now the national instrument of Guatemala and Costa Rica. Modern uses of the marimba include solo performances, woodwind and brass ensembles, marimba concertos, jazz ensembles, marching band, drum and bugle corps, contemporary composers have used the unique sound of the marimba more and more in recent years. A player of the marimba can be called a marimbist or a marimba player, xylophones are widely used in music of west and central Africa. The name marimba stems from Bantu marimba or malimba, xylophone, the instrument itself is present, but is called balafon or heri in Mali and/or Guinea, while its known as gyil among the Akan peoples in and around Ghana. The word marimba and derivative words is used widely in East, other sources credit the creation of the marimba and the kalimba to Queen Marimba of the Wakambi people, who live south of Lake Victoria. In the Swahili language imba means song, Marimba, is said to be the mother of song and the creator of all the instruments, including the marimba. Mama means mother in Kiswahili, so it makes sense that the word mother would be combined with the word for song. The karimba is also said to have created by Queen Marimba. In much of East & Central Africa the karimba is seen as a version of the marimba. Diatonic xylophones were introduced to Central America in the 16th or 17th century, the first historical record of Mayan musicians using gourd resonator marimbas in Guatemala was made in 1680, by the historian Domingo Juarros. It became more widespread during the 18th and 19th centuries, as Mayan, in 1821, the marimba was proclaimed the national instrument of Guatemala in its independence proclamation. The gourd resonators were later replaced by harmonic wooden boxes, variants with slats made of steel, glass or bamboo instead of wood appeared during the 19th century. In 1892, Corazón de Jesús Borras Moreno, a musician from Chiapas, expanded marimba to include the chromatic scale by adding another row of sound bars, the name marimba was later applied to the orchestra instrument inspired by the Latin American model. In the United States, companies like Deagan and Leedy company adapted the Latino American instruments for use in western music, metal tubes were used as resonators, fine-tuned by rotating metal discs at the bottom, lowest note tubes were U-shaped. The marimbas were first used for music and dance, such as Vaudeville theater. Clair Omar Musser was a proponent of marimba in the United States at the time
Marimba
–
Classical marimba, model Antonko AMC-12
Marimba
–
"The Marimba" from "The Capitals of Spanish America" (1888)
Marimba
–
Folk and popular marimba
Marimba
–
Contra Bass Marimba: range of G1–G3
43.
Steelpan
–
Steelpans is a musical instrument originating from Trinidad and Tobago. Steel pan musicians are called pannists, the modern pan is a chromatically pitched percussion instrument made from 55 gallon industrial drums that formerly contained chemicals. Steel pans are the instruments made to play in the Pythagorian musical cycle of fourths and fifths. The pan is struck using a pair of straight sticks tipped with rubber, some musicians use four pansticks, holding two in each hand. This skill and performance have been shown to have grown out of Trinidad. The pan is the instrument of Trinidad and Tobago. The celebration of carnivale had arrived with the French, slaves, who could not take part in carnival, formed their own, parallel celebration called canboulay. Stick-fighting and African percussion music were banned in 1880, in response to the Canboulay Riots and they were replaced by bamboo sticks beaten together, which were themselves banned in turn. In 1937 they reappeared in Laventille, transformed as an orchestra of frying pans, dustbin lids and these steelpans are now a major part of the Trinidadian music scene and are a popular section of the Canboulay music contests. In 1941, the United States Navy arrived on Trinidad, the pannists, who were associated with lawlessness and violence, helped to popularize steelpan music among the soldiers, which began its international popularization. The first instruments developed in the evolution of steelpan were Tamboo-Bamboos and these were hit onto the ground and with other sticks in order to produce sound. Tamboo-Bamboo bands included percussion of a bottle and spoon, by the mid-1930s, bits of metal percussion were being used in the tamboo bamboo bands, the first probably being either the automobile brake hub iron or the biscuit drum boom. The former replaced the gin bottle-and-spoon, and the latter the bass bamboo that was pounded on the ground, by the late 1930s their occasional all-steel bands were seen at carnival, and by 1940 it had become the preferred carnival accompaniment of young underprivileged men. The 55-gallon oil drum was used to make steelpans from around 1947, the Trinidad All Steel Percussion Orchestra, formed to attend the Festival of Britain in 1951, was the first steelband whose instruments were all made from oil drums. Members of TASPO included Ellie Mannette and Winston Spree Simon and they were featured on an album with him. Steelpans are built using sheet metal with a thickness between 0.8 and 1.5 mm. Historically, steelpans have been built from used oil barrels. Nowadays, many instrument makers do not rely on used steel containers and get the resonance bodies manufactured according to their preferences, in a first step, the sheet metal is stretched into a bowl shape. This process is usually done with hammers, manually or with the help of air pressure, the note pattern is then marked onto the surface, and the notes of different sizes are shaped and molded into the surface
Steelpan
–
Steel pan
Steelpan
–
Tuning a steelpan with a
strobe tuner – Herman Guppy
Steelpan
–
A musician playing the double tenor steelpan
Steelpan
–
Solo steel pannist performing with backing tracks
44.
Timpani
–
Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper and they are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras. Timpani is an Italian plural, the singular of which is timpano and they are also often incorrectly termed timpanis. A musician who plays the timpani is a timpanist, alternative spellings with y in place of either or both is—tympani, tympany, or timpany—are occasionally encountered in older English texts. Although the word timpani has been adopted in the English language. The German word for timpani is Pauken, the French and Spanish is timbales, the Ashanti pair of talking drums are known as atumpan. The tympanum is defined in the Etymologiae of St. Isidore of Seville, est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde, et margaritum medium tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur. The tympanum is skin or hide stretched over a wooden vessel which extends out. It is said by the symphonias to resemble a sieve, but has also likened to half a pearl. It is struck with a wand, beating time for the symphonia, the reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder. The basic timpani drum consists of a drumhead stretched across the opening of a bowl made of copper or, in less expensive models, fiberglass. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones, the heads tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods, the shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones, another factor that affects the timbre of the drum is the quality of the bowls surface. Copper bowls may have a smooth, machined surface or a surface with many small dents hammered into it
Timpani
–
A timpanist at work
Timpani
Timpani
–
Walter Light pedal and chain timpani set up in three different combinations.
Timpani
–
A pedal on a Dresden timpano – the clutch (seen here on the left) must be disengaged to change the pitch of the drum.
45.
Vibraphone
–
The vibraphone is a musical instrument in the struck idiophone subfamily of the percussion family. The vibraphone resembles the xylophone, marimba, and glockenspiel, each bar is paired with a resonator tube that has a motor-driven butterfly valve at its upper end. The valves are mounted on a shaft, which produces a tremolo or vibrato effect while spinning. The vibraphone also has a sustain pedal similar to that on a piano, with the pedal up, the bars are all damped and produce a shortened sound. With the pedal down, they sound for several seconds, the vibraphone is commonly used in jazz music, in which it often plays a featured role and was a defining element of the sound of mid-20th-century Tiki lounge exotica, as popularized by Arthur Lyman. It is the second most popular solo keyboard percussion instrument in music, after the marimba. It is an instrument in the modern percussion section for orchestras. The first musical instrument called vibraphone was marketed by the Leedy Manufacturing Company in the United States in 1921, however, this instrument differed in significant details from the instrument now called the vibraphone. The Leedy vibraphone achieved a degree of popularity after it was used in the novelty recordings of Aloha Oe and this popularity led J. C. Deagan, Inc. in 1927 to ask its Chief Tuner, Henry Schluter, to develop a similar instrument. Schluters design was more popular than the Leedy design, and has become the template for all instruments now called vibraphone, however, when Deagan began marketing Schluters instrument in 1928, they called it the vibraharp. The name derived from similar aluminum bars that were mounted vertically, since Deagan trademarked the name, others were obliged to use the earlier vibraphone for their instruments incorporating the newer design. The name confusion continues, even to the present, but over time vibraphone became significantly more popular than vibraharp, by 1974, the Directory of the D. C. Federation of Musicians listed 39 vibraphone players and 3 vibraharp players, the initial purpose of the vibraphone was to add to the large arsenal of percussion sounds used by vaudeville orchestras for novelty effects. This use was quickly overwhelmed in the 1930s by its development as a jazz instrument, the use of the vibraphone in jazz was pioneered by Paul Barbarin, the drummer with Luis Russells band. Bergerault, of Ligueil, France also began manufacturing vibraphones in the 1930s, Deagan struck endorsement deals with many of the leading players, including Lionel Hampton and Milt Jackson. The Deagan company went out of business in the 1980s, its trademark, Yamaha continues to make percussion instruments based on Deagan designs. In 1948, the Musser Mallet Company was founded by Clair Omar Musser, the Musser company continues to manufacture vibraphones as part of the Ludwig Drum Company. The standard modern instrument has a range of three octaves, from the F below middle C, larger three-and-a-half or four octave models from the C below middle C are also becoming more common
Vibraphone
–
Vibraphone
Vibraphone
–
Former headquarters of
J.C. Deagan, Inc. in Chicago, where Henry Schluter invented the vibraphone. Now (2008) home to Century Mallet Instrument Service.
Vibraphone
–
Hampton in 1946
Vibraphone
–
The Musser M-55 Pro Vibe, a middle level instrument in
Musser's line, played by professionals and in schools around the United States.
46.
Xylophone
–
The xylophone is a musical instrument in the percussion family that consists of wooden bars struck by mallets. The term xylophone may be used generally, to all such instruments such as the marimba, balafon. The term is popularly used to refer to similar instruments of the lithophone and metallophone types. The bars of metal sound more high pitched than the wooden ones, the modern western xylophone has bars of rosewood, padauk, or various synthetic materials such as fiberglass or fiberglass-reinforced plastic which allows a louder sound. Some can be as small a range as 2½ octaves but concert xylophones are typically 3½ or 4 octaves, the xylophone is a transposing instrument, its parts are written one octave below the sounding notes. Xylophones should be played with hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects, lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods. Concert xylophones have tube resonators below the bars to enhance the tone, frames are made of wood or cheap steel tubing, more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have gourds that act as Helmholtz resonators, others are trough xylophones with a single hollow body that acts as a resonator for all the bars. Old methods consisted of arranging the bars on tied bundles of straw, ancient mallets were made of willow wood with spoon-like bowls on the beaten ends. The instrument has obscure, ancient origins, according to Nettl, it originated in southeast Asia and came to Africa c. AD500 when a group of Malayo-Polynesian speaking peoples migrated to Africa, one piece of evidence for this is the similarity between East African xylophone orchestras and Javanese and Balinese gamelan orchestras. This, however has been questioned by ethnomusicologist and linguist Roger Blench who posits an independent origin in Africa, the xylophone-like ranat was used in Hindu regions. Java and Bali use xylophones in gamelan ensembles and they still have traditional significance in Africa, Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. The term marimba is also applied to traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd, the wood is first roasted around a fire before shaping the key to achieve the desired tone. A skilled maker can produce startling amplification, the mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant. This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm, the Mbila is associated with the Chopi people of the Inhambane Province, in southern Mozambique
Xylophone
–
Xylophone with different type of mallets
Xylophone
–
Cameroon, ~1914
Xylophone
–
Kulintang a Kayo, a
Philippine xylophone
Xylophone
–
Timbila
47.
Unpitched percussion
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An unpitched percussion instrument is a percussion instrument played in such a way as to produce sounds of indeterminate pitch, or an instrument normally played in this fashion. Unpitched percussion is used to maintain a rhythm or to provide accents. The drum heads produce inharmonic sounds, the strongest frequencies that are present are unrelated to pitched sounds produced by other instruments in the ensemble. Although the drum is tuned by the player, this tuning does not relate to the pitches of other instruments, the sound may be inharmonic, a mixture of sounds including some with conflicting fundamental frequencies. The fundamental frequency may simply be unexpected, and unrelated to other sounds in the piece of music, a heavy rock drummer playing on the bell of a ride cymbal, for example, produces a sound with a strong fundamental, but the pitch is unrelated to the music. This is unpitched percussion, despite the pitch of the sound if heard in isolation. In practice two or all of these mechanisms are frequently in effect in producing the sensation of an instrument being unpitched, but any one can be sufficient. It is important to note that many unpitched percussion instruments do or can produce a sound with a fundamental frequency. The pitch of a bell is particularly strong however struck, more radically, pitched instruments can be used to produce unpitched sounds, for example a prepared piano, or the golpe technique of flamenco music. The smaller tom-tom drums in a kit are tuned higher than the larger ones. Three or more tom-toms are common, each tuned higher than the larger ones, the male pair in a set of castanets is lower in pitch than the female. These pitches however, Relate only to members of the set, or to related unpitched instruments. Bear no harmonic relationship one to the other, if either of these two conditions is not met, then the instrument could be considered pitched. Many folk instruments and world music instruments are tuned to match the pitch of a degree of the scale of the music, including. The bass head of the dhol, instruments regularly used both as pitched and as unpitched percussion include many types of bells. Lincoln Cathedral, for example, has three towers, two containing bells used as unpitched including a chiming clock, and the third containing a pitched ring of bells. The term unpitched refers to the usage and perception of the sound of the instrument rather than simply to its sound, classification of percussion instruments Inharmonicity Pitched percussion instrument Tuned percussion List of percussion instruments
Unpitched percussion
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A pair of
timbales, two
cowbells, a
jam block and a
cymbal all in use as unpitched percussion
Unpitched percussion
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Andrea Neumann 's
prepared piano,
Goethe-Institut, Boston, 2010, showing a dinner knife, a dinner fork, a piece of felt and a piece of cardboard interferring with the normal movement of the strings.
Unpitched percussion
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The
tabla, left, is tuned to the
tonic,
dominant or
subdominant of the soloist's key and thus complements the
melody. Its
drum head is reinforced at the centre to reduce
inharmonic overtones.
Unpitched percussion
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The
cowbell is most often used as unpitched percussion, but here is a pitched set
48.
Bass drum
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A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. Bass drums are percussion instruments and vary in size and are used in musical genres. Three major types of bass drums can be distinguished, the type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra, the kick drum, a term for a bass drum associated with a drum kit. It is struck with an attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps and this is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is cylindrical with the drums diameter much greater than the drums depth. There is normally a head at both ends of the cylinder. The heads may be made of skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings, Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics, music Bass drums have many synonyms and translations, such as Gran Cassa, Grosse caisse, Grosse Trommel, and Bombo. Bass drums are too large to be held and are always mounted in some way. The usual ways of mounting a bass drum are, Using a shoulder harness so that the heads are vertical, on a floor stand as part of a drum kit. The heads are always vertical when mounted in this way, in this situation, the heads may be adjusted to any position between vertical and horizontal. It is possible for the drum to have a single cymbal mounted on it. Bass drums can have a variety of strikers depending on the music, when the drum is mounted vertically, the mallet above may be held in one hand and a rute held in the other. 2 matching bass drum mallets or a double headed mallet are used for playing drum rolls, when used as part of a drum kit, a variation of the mallet described above is mounted on a pedal and called a beater. The earliest known predecessor to the drum was the Turkish davul
Bass drum
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Bass drum
Bass drum
Bass drum
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Bass drums with "woofers" or additional resonating sections attached to enhance tone and depth. Drum set used by
Alex van Halen
Bass drum
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Conventional single pedal
49.
Bongo drum
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Bongos are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed drums of different sizes. In Spanish the larger drum is called the hembra and the smaller the macho, the origin of the bongo is largely unclear. Most sources on Afro-Cuban cultural history argue that the bongo derives from Central African drum models, also a Santería influence from Yoruba culture in the symbolic twin drum is assumed. The strong historical presence of Africans from the Congo/Angola region in Eastern Cuba makes such an influence probable, moreover, Central African/Congo influences are also documented in the Cuban son music genre, including changüí, and initially the development of the bongo drum went parallel with these genres. From such conceptual African drum models, the bongo developed further in Cuba itself, and some historians state that the attaching of the two drums was a later invention that took place in Cuba. Although the bongos are defined as African in concept, but Cuban in invention - e. g. by author Ned Sublette - some Moorish or European aspects may also have shaped the bongos over time. Etymologically, Sublette traces the origin of the bongo to a multi-purpose word of Bantu origin. The bongo came to western Cuba at the turn of the 20th century, as son inspired Cuban big band music gained international popularity, the Cuban bongo was exported all over the world. It is today one of the most common hand drums, bongo drums produce relatively high-pitched sounds compared to conga drums, and should be held behind the knees with the larger drum on the right when right-handed. It is most often played by hand and is associated in Cuban music with a steady pattern or ostinato of eighth-notes known as the martillo or hammer. They are traditionally played by striking the edge of the drumheads with the fingers, the glissando used with bongó de monte is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva, or sweat before rubbing it across the head, when used in art music compositions they are usually struck with drum sticks. These drums can also be played on a stand, as is the case with concert orchestras, bongo drummers are known as bongoseros. The following drummers are important figures in the history of the instrument
Bongo drum
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A pair of bongos
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